The much-awaited trailer for Avatar: Fire and Ash, the third installment in James Cameron’s highly successful Avatar franchise, was unveiled by Disney months ahead of its scheduled release on December 19.
This nearly two-and-a-half-minute trailer showcases the return of Sam Worthington and Zoe Saldana as Jake Sully and Neytiri, with a significant highlight being a glimpse of Oona Chaplin as the notorious Varang. Here’s everything you need to know about the major antagonist of Avatar: Fire and Ash.
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Avatar: Fire and Ash: Who is Varang?
Brought to life by Oona Chaplin, known for her role in Game of Thrones, Varang is the leader of the Mangkwan Clan, also referred to as the Ash People. The trailer introduces fans to this new biome on Pandora, showcasing its inhabitants who have been surviving near an active volcano.
According to People magazine, the trailer offers a snapshot of Varang, who is seen adorned with a striking red-and-black spiky headdress.
Varang’s introduction marks a departure from the series’ established narrative, which primarily featured the Na’vi pitted against humans. Fans can now anticipate a storyline where the Na’vi may confront each other, adding a new level of complexity.
Can Varang Control Fire?
Major details about Varang, including her special powers, remain largely shrouded in mystery. However, the trailer suggests that Varang may possess the ability to control fire, as her fingers ignite upon contact with flames. Furthermore, it’s implied that Varang’s clan has endured significant hardships, motivating her to take drastic measures to protect them—even if those measures are deemed evil.
Notably, it is believed that Varang does not align with Eywa, the spiritual figure revered by other Na’vi, and is opposed to her laws. She rides a unique creature known as a nightwraith.
In discussing Varang’s role, director James Cameron explained to Empire that she leads those who have experienced “incredible hardship.” He further elaborated on the thematic evolution of the film, stating, “One thing we wanted to do in this film is not be black-and-white simplistic. We’re trying to evolve beyond the ‘all humans are bad, all Na’vi are good’ paradigm.”
