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The second installment of Denis Villeneuve’s grand adaptation of Dune makes a powerful impact, with its intense sci-fi imagery depicting themes of fascism, imperialism, and rebellion. Collaborating with Jon Spaihts, Villeneuve draws inspiration from David Lean, George Lucas, and Ridley Scott’s Gladiator, particularly in the massive stadium battle scene featuring CGI crowds. However, he manages to put his own stamp on the film, blending political commentary and Indigenous struggles into the vast and enigmatic landscapes of different planets. The sound design pulsates throughout the film, adding a disorienting layer to the stunning visuals and the recurring theme of BDSM-inspired fashion among the intergalactic wrongdoers.
My only concern is that the initial momentum of the first part seems to have dissipated since its release over two years ago. Those unfamiliar with the Dune franchise may feel that the ending does not provide the satisfying closure that we all hope for after investing 330 minutes in total screen time. Additionally, the final climactic moments of the film seem rushed, akin to Shakespeare condensing Henry VI Part III into a quick conclusion following Part II.
None of that damages the film’s flair and staggering display. We begin with another extraordinary and surreal desert-battle scene with the invented technological detail that is so commanding and distinctly scary, as if we are witnessing a posthuman evolutionary development. The signature design touches are presented with absolute confidence; in any other film, those black nasal tubes would look odd, especially when the two leads are expected to kiss while wearing them. Here you accept it.
We find ourselves on the planet Arrakis, home to the highly valuable mineral known as Spice. The corrupt Harkonnen family holds power over this resource, having deceitfully overthrown the Atreides family who were originally assigned to govern by the emperor. The Harkonnens are led by the ruthless Baron (Stellan Skarsgård), with his menacing nephews, Beast Rabban (Dave Bautista) and Feyd-Rautha (Austin Butler). The charming Paul (Timothée Chalamet) continues to lead the rebellion of the Fremen people, while also falling in love with Chani (Zendaya). Warrior Stilgar (Javier Bardem) sees Paul as their savior. Accompanying Paul is his mother Jessica (Rebecca Ferguson), a member of the secretive Bene Gesserit sisterhood who also holds a position of power among the Fremen. A pivotal showdown between the Fremen and the Harkonnen looms, as well as a confrontation between Paul, the Emperor, and his daughter Princess Irulan (Christopher Walken and Florence Pugh in minor roles).
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The scene is a stunning display of unfamiliarity, now expanded to include a larger group of actors. Léa Seydoux delivers a classic and cunning performance as Lady Margot Fenring, a Bene Gesserit initiate, while Anya Taylor-Joy makes a brief, subtle appearance. As in the first film, the sequel excels at presenting a fully imagined world, with its own distinct and recognizable universe that is likely to inspire future works. Credit goes to cinematographer Greig Fraser and production designer Patrice Vermette for this achievement. Hans Zimmer’s score perfectly sets the mood, simultaneously evoking both melancholy and grandeur.
Villeneuve displays great ambition and daring in this film, using a unique film-making style. However, I cannot help but feel that at the end, despite his skill, he has not fully captured the essence of the story in one grand, self-contained movie like he did with Blade Runner 2049. While Chalamet shines as the lead in a romantic action role, there is so much happening with other characters that his heroism and relationship with Chani is not the main focus. Nevertheless, this is a true epic and it is refreshing to see a filmmaker think on such a grand scale.
Source: theguardian.com
