Villeneuve defeats Arrakis and makes

It is an astounding spectacle, despite the fact that it does a little bit of a poor job of reproducing the complicated political background of the film.

‘Barbie’ and ‘Oppenheimer’ were the two films that brought in the most money on the box office in 2023. These two films demonstrated that there was cinema outside of the never-ending Marvel, DC, and ‘Star Wars’ franchises. Even though they were produced by major studios such as Warner and Universal, ‘Barbie’ may be the beginning of a lucrative franchise. However, it is true that both of these concepts were on the outside of the field; one was on the side of pop satire, while the other was on the side of traditional biography. In addition to the sagas, there were other things. The first ‘Dune’ was created in 2021, which served as a significant precedent for them.

The answer is yes, it is the beginning of a story, if you will, but it is a saga that has come to a finish, with a beginning and an end, and there is no vocation for churrería (at least initially). In the year 2021, we had already reached a point where we were a little bit tired of the big superhero sagas, and the success of “Dune,” which was praised by critics and received a wonderful response from the general public (434.8 million dollars in revenue), was building the framework for evaluating alternatives on the billboard. Although it was science fiction, it was significantly different from “Star Wars” (although Lucas has always cited Frank Herbert’s work as an inspiration for his franchise). It was thick, had a high level of political substance, had a leisurely pace, and was extremely well created in terms of aesthetics.

‘Dune: Part II’ , as it could not be otherwise considering that it continues the plot of that one in a linear way, maintains all those virtues: it is a film that bets on a science fiction of a serious tone , with multiple plot lines, and that is not afraid of obvious geopolitical parallels with the world we have to live in. And because of this, aesthetic and argumentative choices are taken with a degree of risk. For instance, the characters speak a variety of languages, many of which are obviously created, and this will be difficult for more than one viewer who is accustomed to having things made easy for them.The personal journey of Paul Atreides, who lives with his mother on the sand planet Arrakis alongside the Fremen, will be the topic of discussion this time around. It is there that he will start his mental and physical preparation in order to become Muad’Dib, the chosen one of the prophecies, while at the same time a potential holy war in his name is looming in the future. His love with Chani, the machinations of his mother and the leader of the Bene Gesserit, his determination to revenge the death of his father and destroy the Harkonnens… all of these things come together to make a convoluted plot that is full of passions that are in conflict with one another.

The continuity is therefore ensured, but Villeneuve is more at ease in a film that does not have to spend a significant portion of its running time establishing a universe, explaining to the audience the strategic significance of Arrakis, the rivalries between houses, and the role of the Bene Gesserit in political intrigues… all of this is conveyed, and the film benefits from increased agility, as we are able to observe skirmishes between the Fremen and the Harkonnens from the very beginning of the film.

In point of fact, Villeneuve takes great pleasure in creating unadulterated spectacle in a film that puts palace machinations to the side. People are riding worms, there are huge battles between hundreds of warriors, and there are a few hand-to-hand confrontations (like the conclusion between Paul and Feyd-Rautha) that are planned and filmed, which may be the complete opposite of the visual noise that is present in the Marvel movies. Villeneuve, in point of fact, injects so much action into the plot that many aspects that demanded more explanation and that the novel develops (it should come as no surprise) in much greater detail are left a little bit unclear.

I believe that one of the things that is most lacking is the genuine dark dimension of Paul Atreides. Of course, he is not the standard glowing hero of a blockbuster, and we do not have an ethics that is built on pure light and darkness, like Star Wars does, but yet, the Paul of the movie is still a Chosen One to free a people. Neither is there a significant amount of discussion regarding the huge power that religion possesses to influence the masses and to serve as a political instrument. This is a subject that is alluded to, but Villeneuve does not want to go into it or does not know how to do so. In the very likely ‘Children of Dune’ that we will see in a couple of years, we will decide whether or not they have the courage to portray Paul Atreides in the manner that he actually is.

Despite the fact that these are really little things, the fact of the matter is that even the soundtrack of “Dune: Part II,” which was composed by the legendary Hans Zimmer, provides a spectacle that causes you to lose your breath. Once again, the incredible sound design and production design work shine with their own light in all of its aspects: from the sets to the costumes and makeup, and set-pieces that work as mini-movies, such as the sequence of Paul riding the worm or the confrontation in the Feyd-Rautha coliseum with the survivors of the massacre from the previous film.

Both of these aspects shine with their own light. A colossal and epic piece of science fiction, despite the fact that it has just a few minor flaws, but it is not only a triumph that it has been made; it is also a triumph that we need more works of this kind to be made.

Villeneuve defeats Arrakis and makes

It is an astounding spectacle, despite the fact that it does a little bit of a poor job of reproducing the complicated political background of the film.

By knl9j

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