“Dune 2”, review: A masterpiece of science fiction

The success of “Dune: Part Two” was predicted based on the cinematographic quality of director Denis Villeneuve’s films, and above all due to the result of the first installment, which did justice on the big screen to the original book by Frank Herbert, somewhat which the 1984 adaptation directed by David Lynch failed to achieve.

“Dune” set the bar very high for the sequel, since the staging of the story, accompanied by the performance of Timothée Chalamet, Oscar Isaac, Josh Brolin, Rebecca Ferguson and Stellan Skarsgard, and the recreation of the desert settings and imposing, it was a cinematographic experience that fell in love with moviegoers and critics, and that left glimpses of expectation for the continuation of the saga since the first part ended with the protagonists witnessing the wonders of the Arrakis desert.

The second part of “Dune” not only lived up to the first film, it surpassed it. Throughout the entire feature film, there are many memorable scenes, and it is difficult to stay with just one or two moments of the film, since from the beginning it presents an atmosphere of intensity and suspense, which since then shows that it will offer more emotions than the first. movie. The audiovisual richness is truly surprising, as was observed from the first part, however, the stakes are greatly raised with new settings such as the arena where the fearsome Feyd-Rautha (Austin Butle) is presented, whose presentation leaves the sensation of that he has no rival that can even equal him.

Paul Atreides (Timothée Chalamet) builds the foundations of his plan to avenge his father, Duke Leto Atreides, and his people, who were massacred by the Harkonnen, and takes advantage of the prophecy of the Fremen messiah to lead them towards their goal. Meticulously, the story unfolds under this scoop disguised by his “desire” to learn the customs of that great tribe and free them from the clutches of the empire. Beyond the surprising cinematography that includes the desert, recreations of Arrakeen, Giedi Prime, sands and palaces, the film cooks, without rushing, in the evolution of Paul and his mother, mainly, and in the reasons for the conflict, which demonstrate the richness of its plot, which could easily have been buried under the audiovisual effects.

Religion, politics, power and morality fight and mix as if they were in a whirlpool of sand in the development of the story, where the conflict of interests generates a growing tension that dissipates until the end of the film, which develops in parallel with the impressive soundtrack by the incomparable Hans Zimmer, who keeps the audience on the edge of their seats with this sensory resource to trap them more in the narrative.

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All good with “Dune: Part Two”, the cinematography, the script, the performances, the audiovisual effects, the soundtrack, and, above all, for the emotions it generates. It is likely that more than one person will experience “goosebumps” with certain footage of the film, such as when the emperor himself and his troops settle on Arrakis, and receive a surprise attack by the Fremen with bombs of high destructive power, three worms. sand and troops emerging on the desert floor. After witnessing the merciless massacre produced by the Harkonnen daggers, observing the successful offensive of Paul’s side is satisfying and leaves room for euphoria, similar to the surge of emotions left by Muad’Dib Usul’s speech before the southern tribes of Arrakis, where they proclaimed him Lisan Al Gaib.

Denis Villeneuve knew how to humanize this science fiction cinematographic bet as has rarely been seen in cinema, which Christopher Nolan compared to “The Empire Strikes Back”, one of the best films in the history of the genre.

The palpable emotions of each character under the performance of a remarkable cast led by Chalamet, Zendaya and Rebecca Ferguson immerse the audience in a satisfying story, through the achievements of the Fremen, until Paul encounters an adversary that seems impossible to defeat, Feyd-Rautha.

As the fight transcends, hopes seem to be slipping away, and this Harkonnen, without scruples or mercy, seems to be going to defeat Paul Atreides when he lands the first forceful blow with his dagger, and then, the scene makes one believe that he exists a second fatal impact that has killed the protagonist. All the euphoria, meticulously crafted during the film, seems to escape in a matter of a second.

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