“Dune 2” is something that demands a theater experience to allow the sweeping soundscape and visuals truly enrapture the viewer.
“Dune: Part Two” climaxes half a story — with no half-measures.
Directed and co-written by Denis Villeneuve, “Dune: Part Two” continues the operatic story of House Atreides left hanging by “Dune,” released in 2021.
Inspired by the latter half of Frank Herbert’s eponymous novel, “Dune: Part Two” follows the prophetic Paul Atriedeis’ ascension to power. Set on the desert planet Arrakis, Paul mobilizes the native Fremen to avenge the death of his father and the destruction of his House.
“Part Two” demands theater viewing. The sense of scale of Arrakis’ vast desert coupled with composer Hanz Zimmer’s electric score produces an otherworldly experience on screen. Bombastic battles elicit feelings of amazement and dread. The immense sandworms, in their horrifying simplicity and unimaginable size, produce utter shock whenever displayed.
“Part Two” picks up immediately where the former left off, sewing up loose threads and fleshing out Herbert’s most fantastical elements. Villeneuve (“Arrival,” “Blade Runner 2049”) fills the near three-hour runtime with gorgeous cinematography, gripping drama and enthralling action.
Alongside resource conservationism, “Dune” had a core theme of loyalty and family. “Part Two” retains these elements — turning the dial to its highest volume.
The Fremen hold to prophecies of a liberating messiah, unaware their myths were crafted to keep them complacent. Played by Timothée Chalamet, Paul’s coincidental fulfillment of that prophecy requires him to continue his crusade by exploiting their idolization.
Villenueve layers the religious conflict with Paul’s mother Jessica, portrayed by Rebecca Ferguson. A member of the Bene Gesserit coven that implanted the prophecy, Jessica uses every chance to deceive and garner support. His mother’s manipulations run counter to his noble intentions to aid the Fremen.
“Part Two” poses the idea that if a cause is just, deception is necessary. The villainous House Harkonnen violently plague both the Fremen and Atreides. Paul’s aim to usurp the Harkonnens is upended by visions of an ensuing holy war if his messiah status is embraced.
Opposing Paul’s godliness is Chani, a Fremen warrior played by Zendaya. An independent fighter and Paul’s romantic partner, Chani refutes perceptions of his savior complex. Fiercely loyal to her people, Chani is a tragic emblem of the effects of propaganda and need for hope.
Paralleling Paul’s rising leadership is the heinous Feyd-Rautha. Heir to the Harkonnens, Feyd is given similar godly elevation to become a royal conqueror. Portrayed devilishly by Austin Butler, Feyd is the product of sadistic pleasures meeting unparalleled praise.
Feyd-Rautha is the warning of what Paul may become when welcoming fanaticism. Herbert’s writings illustrate the dangers of personality-based cults — no matter a leader’s intentions, unmitigated power with fervent followings breed disastrous consequences.
Villeneuve’s storytelling is made even more grandiose with his vision of Arrakis. “Part Two” delves further into the alienness of Herbert’s world, featuring buglike spacecrafts, psychedelic visions and telepathic conversations produced by sci-fi witchcraft.
Each faction is given further depth to differentiate their culture. The Harkonnens’ aversion to all that’s natural produces a pale white and tar black palette for their home planet. The Bene Gesserit sisterhood contrastingly scheme in ornate gardens lined with silver curtains and marble floors.
The precious commodity of water on Arrakis is shown as more important than life for the Fremen. Villeneuve adapts moisture-harvesting technology, capable of ringing deceased friends and enemies alike of their water. It’s bleakly inventive worldbuilding, perfectly capturing Herbert’s alluring writing.
Villeneuve’s second outing in the “Dune” universe ups the sci-fi antics and dives deeper into its vast world. The film epicly tracks the rise of a galactic crusade while expertly balancing sleek action, gentle romance and surprisingly earnest comedy.
This “Dune” duology has made its mark as the new standard for space-faring cinema. Bringing unabashed philosophy with stunning direction, Villenueve’s adaptation of Herbert’s “Dune: Messiah” can’t come soon enough.
This chapter for the Atreides may be over, but their story is far from bookended.
“Dune: Part 2” is in theaters March 1.
Featured image courtesy of Warner Bros.
