There is a persistent stress in the movies (particularly the last two) between their championing of public rights and their bright covering of super-spectacle. Co-adapter Danny Strong is also co-creator of hip-hop dilemma Kingdom, which has instructed history TV viewers in the US through the same mixture of ‘Black Lifestyles Matter’ chants and soap-operatic plots. As a social trend, The Hunger Games attacks in the middle of our existing governmental situation: Katniss is an amount of austerity, but she also symbolizes the community of field.

“If we die, let it be for a cause, not a field,” says insurgent innovator Paylor (another wonderful cameo, from Aging Miller) as she rouses the insurgent soldiers before they get into the Capitol. But the film, like the rebels, is captured on the horns of the Hunger Games. Like the previously sequels it seems the need to duplicate the field that offered the first novel its headline, but simultaneously it decries the condition policies of field continuously. Spectacle, we are informed, is what the Capitol provides on its ever-present clear displays and electronic billboards; as ever, resilient TV variety Caesar Flickerman (Stanley Tucci) appears to Katniss “the lady on fire”, now introducing her obvious loss of life in a gun battle.

The Hunger Games: Mockingjay – Part 2  Watch online : Yet field is also what Katniss is involved in for the rebels: the third film was organized around her capturing propaganda video clips, or ‘propos’, with inked Capitol filmmaker-turned-rebel Cressida (an outstanding Natalie Dormer). In the 4th film she is again sent to propaganda on the roads of the Capitol, creating movies to persuade the town to give up. Ever negative and considerably governmental, Games winner Finnick Odair is right when he explains the rebels’ objective in the Capitol as the 76th Hunger Games.

Given this, it’s no surprise that Peeta has to keep enquiring: “Real or not real?” He’s asking about inserted remembrances from his brainwashing, but he could similarly be making mention of a war that is managed by games-makers, and a film where all fights are press extravaganzas. Katniss’s most mixing conversation, following one of the most appropriate and resounding moments, in which a trainful of injured refugees is enclosed by equipped rebels, is itself a televisual stop.

Real or not real: war, condition policies, management, peace-making, even rights – all are installed as field within the movies. This last film even forgoes the novel’s display test of Chief executive Snowfall for one wintry, fancy discussion between Katniss and her tormentor in his intricate green house of white-colored flowers.