Dune: Part II – A Stunning Sci-Fi Epic (Early Review)

Three years after 2021’s Dune (now retroactively titled Dune: Part One), director Denis Villeneuve returns to the world of Arrakis in this highly anticipated follow-up. Based on Frank Herbert’s seminal 1965 science fiction novel, the aptly titled Dune: Part II adapts the second half of the novel while also laying the foundation for the planned trilogy capping Dune: Messiah. If all goes according to plan, we are in the midst of the next great film trilogy!

Dune: Part II picks up immediately from where the first ended off where the House of Atreides wiped out by the evil Harkonnens who are back in control of spice mining on Arrakis. Paul Atreides (Chalamet) and his mother Jessica (Ferguson) have taken refuge with the Fremen, learning their ways, and working to take back control of the planet. Part I was an unusually unique experience for blockbusters. By only telling half the story, long stretches of time were dedicated to establishing the foundation and crafting the mood and immersion of this universe. Its structure and pacing were not inherently concerned with progressing in the way a traditional narrative would and for viewers who may have found it slow, dry, or boring, they should find Part II much more satisfying in that regard. While the first film was all set up, this film is the pay off.

The most immediate shift going from Part One to Two is the sheer scale of this sequel. Not that the original wasn’t one of the most epic blockbusters of the decade, but it is nothing compared to what’s on screen here. Villeneuve’s craft as a filmmaker is only improving with each film and there is a sense of confidence here that is quite stunning. Shot entirely with IMAX digital cameras (1.90:1 aspect ratio with over 40 minutes in full 1.43:1), the film’s visual language is literally bigger and offers him a larger canvas to work in. For comparison, Part One was shot in widescreen 2.39:1 with over an hour in full 1.43:1. Villeneuve’s brutalist aesthetic gives the world of Dune a very realistic and believable look while never sacrificing the inherent weirdness of the source material.

The set pieces and locales are far more dynamic in color and design than anything seen in the last film, from the orange hued desert sunrise to the monochrome home world of the Harkonnens whose black sun saps away all light and colour. The increased verticality in shot composition allows its visuals to shine, making the scale so much grander as a result. Complimenting the larger than life visuals is the big increase in spectacle, Villeneuve has likened Dune: Part II to being a war movie and he’s completely right. The Fremen attacks on the spice harvesters, the riding of 400 foot sand worms, gladiator arenas, and a 1000 army assault are all beautifully realized and quite thrilling, making it a true blockbuster spectacle. To make the spectacle land, the audience needs to be invested in the story and while the scale and epic battles overwhelm audiences (as intended), the film never detract from its narrative.

With the pieces on the board assembled, Dune: Part II greatly expands the scope of the story and the cast, with a deeper dive into all the major factions. Newcomers Austin Butler as the villainous Feyd-Rautha Harkonnen and Florence Pugh’s Princess Irulan are the most notable standouts, fleshing out the world and in Butler’s case delivering a truly memorable villain performance. With Paul and Jessica believed to have been killed, House Harkonnen increased their attacks on the Fremen in an effort to stamp them out entirely, thus ensuring unlimited spice mining on the planet. Paul’s quest for revenge against the attack on his House didn’t just extend to the Harkonnens but to the Emperor himself (Christopher Walken), who in conjunction with the Bene Gesserit, helped fund the attack to weaken the Atreides stronghold.

Amidst the increase in galactic politicking and generation spanning schemes is a delve into themes of religious fanaticism as a chosen one prophecy slowly ensnares Paul into a much larger conflict. As Paul became integrated into Fremen society, so too does Jessica’s slow plotting in the background to lead Paul onto a path of ascendancy in a deeply morally gray manner. Supporting roles from the first film are greatly expanded to major characters, in particular Zendaya’s Chani whose romance with Paul and skepticism of the prophecy drives the core emotional thrust of the story and Javier Bardem’s Stilgar, Fremen leader and devout believer in Paul as the chosen one. What are the consequences and implications of an outsider imperialist force like Paul leading the oppressed? It’s these questions that the film consistently grapples with, the dangers of fanaticism and blind power. What’s made Dune such an enduring story for nearly six decades now is its complexity and subversion regarding the classic hero’s journey. This time around, there is a darker edge to Paul’s story that will certainly leave audiences debating and discussing for years to come as audiences await the third and final part of this trilogy.

Denis Villeneuve’s rise to major filmmaker will surely be cemented with Dune: Part II, a truly staggering work of immense scale and style. The story is deeper and more complex, the spectacle is jaw dropping in a way few films of the last decade have been and it’s just so refreshing to see a large scale blockbuster that’s mature and refined in the way this is. If there is one complaint to be had, it’d be the lack of finality that is sure to leave many feeling somewhat unsatisfied, especially now having to wait potentially a while for Dune: Messiah to fully conclude the story. Still, this is a terrific film, and it’ll be exciting to see how Villeneuve tops himself.

still courtesy of Warner Bros.

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Alex Josevski

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