Valerian and the City of a Thousand Planets represents the end of an era. It was the last major studio film to be shot and designed with purely practical, French "bande dessinée" philosophy. Luc Besson built massive physical sets (the tropical planet Kyrian was a real greenhouse filled with 300 workers), only to augment them with CGI. Modern filmmaking would do the opposite: shoot on a volume wall (like The Mandalorian ) and paint the world in later.
This creativity extends to the "Big Market" sequence. The concept of a massive bazaar that is completely invisible until you put on VR-style glasses creates a comedic and action-packed playground. It allows for imaginative interactions, such as Valerian reaching his hand "through" a wall to grab an object, highlighting the film’s commitment to high-concept sci-fi ideas rather than just laser blasters and dogfights. ---Valerian and the City of a Thousand Planets 20...
Dr. A. M. Sterling, Department of Film and Digital Media, University of Paris Valerian and the City of a Thousand Planets
Critics often cited a lack of chemistry between the two as a stumbling block for the film’s romantic subplot. However, viewed years later, the dynamic has a certain charm. Laureline is arguably the more competent agent, constantly saving Valerian from his own recklessness. This subversion of the "damsel in distress" trope—where the male lead is the one constantly needing rescue—aligns well with modern sensibilities, even if the dialogue sometimes clunks. Modern filmmaking would do the opposite: shoot on