Following the long-awaited release of the follow-up to Denis Villeneuve’s Dune: Part One (2021) to theatres, John O’Connor reviews Dune: Part Two and signals the significance of the sci-fi hit.
It seems as though it was written in the sand for the sequel to Denis Villeneuve’s global phenomenon Dune: Part One (2021) to not only succeed but also become one of the greatest works of science fiction depicted on screen. The film will undoubtedly soon join the ranks of films such as Christopher Nolan’s Interstellar (2014) and Stanley Kubrick’s 2001: A Space Odyssey (1968). Dune: Part Two (2024) has received unanimous acclaim with director Steven Spielberg praising Villeneuve that “[Dune: Part Two is] one of the most brilliant science-fiction films [he’s] ever seen.”
The film sees Paul Atreides (Timothée Chalamet) return to the desert planet of Arrakis as we continue to follow the fall and redemption of House Atreides. Although this sequel invites the audience to divulge in the rich plethora of characters which inhabit such a complex political landscape, namely Princess Irulan (Florence Pugh) and Emperor Shaddam (Christopher Walken), it is Chani’s (Zendaya) intricate relationship with Atreides which stands out. This dynamic once again highlights the talent and magnetic presence of Zendaya on the silver screen, but also accentuates the danger of prophecy and messianic figures, which Chani reminds us of by firmly stating that; “[Prophecies] are how they control us,” an overarching theme in Frank Herbert's original cautionary tale from 1965.
Rebecca Ferguson reprises her role as Lady Jessica, with her ambition transforming her from mother and protector to a ruthless prophetic figure in the story. Such a complex metamorphosis is exquisitely achieved simply through Ferguson’s cold, eerily blue-eyed, gaze. However, the standout of this sequel is undeniably Austin Butler's portrayal of Feyd-Rautha. This psychotic character leaves little room for subtlety in performance, which Butler accentuates in his limited screen time, his terrifying presence bleeding into every consequent scene.
The science fiction epic has currently grossed $581.4 million, earning $82 million during its domestic opening. With a budget of $190 million, relatively low when compared to other blockbusters, Denis Villeneuve has more than cemented himself as not only an ‘outstanding’ director but a lucrative asset to studios. Actor Stellan Skarsgård stated in a recent Vanity Fair interview that; “[Denis Villeneuve] is a great cinematic poet and at the same time he makes his films popular, box office hits, a unique combination.” Villeneuve has emerged as one of the very rare auteurs of the screen who can translate their masterfully crafted pieces of work into a profitable product.
Countless major blockbusters are failing to break even and conglomerate studios like Disney and Marvel have suffered significant losses in recent years with flops including The Marvels (2023), which grossed $206 million against a budget of $270 million and Strange World which grossed $73 million with a budget of $180 million. Villeneuve’s undeniable achievement thereby made all the more impressive. So, how is it that Villeneuve has been able to succeed in not only adapting a book which was widely considered to be unfilmable, thought to be proven by David Lynch’s attempt in 1984, but also break the recently ever-present curse of the ‘flop’? The answer is quality and time.
Countless major blockbusters are failing to break even and conglomerate studios like Disney and Marvel have suffered significant losses in recent years with flops including The Marvels (2023), which grossed $206 million against a budget of $270 million and Strange World which grossed $73 million with a budget of $180 million. Villeneuve’s undeniable achievement thereby made all the more impressive.
Villeneuve has the privilege of his work being an adaptation of Herbert’s novel, such a rich source that already lays the groundwork for a great story, however outlandish the material is. Villeneuve prepared himself to adapt the novel by directing other adaptations of science fiction such as Arrival (2016) and Blade Runner 2049 (2017) in the last decade. This time and care allowed Villeneuve to build a portfolio and gain experience to properly create such a masterpiece, unlike larger studios which must adhere to strict deadlines which in turn causes the finished product to suffer from such negligence.
The success of both Dune films allows us to safely assume that the next instalment, Dune: Messiah, will most likely be confirmed in the coming weeks. Villeneuve recently told Empire Magazine, “If we go back [to the world of Arrakis], it needs to be real, it needs to be relevant. If I ever do ‘Dune Messiah’[it’s] because it's going to be better than ‘Part Two.’ Otherwise, I won’t do it.” However, it is confirmed that audiences will be able to return to the universe of Dune sooner than you might imagine. In December, HBO Max completed principal photography for ‘Dune: The Prophecy,’ a prequel series set 10,000 years before Villeneuve’s adaptation which will follow the origins of the Bene Gesserit, the sisterhood which steers the politics of the known universe from the shadows. Familiar names will be prominent in the series including the Harkonnens and Atreides with fresh faces being cast such as Emily Watson (Chernobyl), Olivia Williams (The Crown) and Mark Strong (1917) so far confirmed. The show is set to air later this year.