From the sands of Arrakis, He will emerge.
The Lisan al Gaib, He Who Points the Way, towards control.
For the control over spice is control over all.
Replete with dense storytelling, visual flair and technical mastery from the first frame, director Denis Villeneuve reunites us with the majestic, mythic world of Dune in a cinematic spectacle that we are lucky we still get to marvel at on the big screen.
Picking up directly where the first half of Frank Herbert’s novel adaptation left us, we witness Paul Atreides (played by Timothee Chalamet) wrestling with his responsibility as the messianic savior of the desert planet Arrakis and reclaiming his honor from the antagonistic House Harkonnen and the galactic Imperium – the perpetrators behind his father’s death.
As Paul learns the ways of the indigenous Fremen tribes, he rises in their eyes to be accepted as the messiah, prompting them to go to war with House Harkonnen and the Imperium.
Villeneuve has stated that Dune: Part Two is a contrast to its predecessor’s more slow and contemplative tone. While he absolutely delivers on that front, punctuating the film with incredibly choreographed action and battle sequences, it doesn’t mean he skimps on smaller moments and story building elements. We are treated to Paul’s daily journey as he becomes part of the Fremen and forms an emotional bond with Zendaya’s Chani.
The film also weaves in other concurrent and twisted story threads filled with complex characters and their questionable agendas, most of those from those we are supposed to trust and root for.
Villeneuve, therefore translates Frank Herbert’s story into a cinematic inverse of traditional heroic narratives with a much darker and tragic tone, presenting an allegory for idol worship and religious fanaticism.
Timothee Chalamet builds on his role of Paul, wading into a layered character arc beautifully brought to life by a transformative performance that is a sight to behold. He bravely commands the screen with a terrifying screen presence, equally complimented by Rebecca Ferguson’s scheming mother Lady Jessica.
As a character serving caution to the audience, Zendaya shines in an understated and emotionally charged performance who is concerned and doesn’t agree with Paul’s rise to power, even debating his prophesied role as the messiah.
Austin Butler serves a nuanced and scary performance as the psychopathic villain Feyd-Rautha, the antithesis of Paul, and is a delight to watch on screen despite his limited screen time.
Villeneuve’s vision for the source material is wonderfully realized by cinematographer Greig Fraser, whose eye for scope and detail succeeds in making the world of Dune envelope the audience with rich visuals.
Composer Hans Zimmer similarly ups the ante through his industrial/ambient music score, a soundscape that is stronger than the first, well worth the price of admission to experience it in theaters while also delighting when heard in isolation.
Villeneuve deliberately diverges from some elements of the novel to set up another chapter, leaving us anticipating a conclusion that will undoubtedly unveil an artistically well-rounded and satisfying trilogy.
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