In a word, filmmaker Denis Villeneuve’s Dune: Part Two is epic.
Finally hitting theaters this weekend, the film makes good on Chani’s (Zendaya) promise to Paul Atreides (Timothée Chalamet)—and the audience—from 2021’s Dune. The first film, indeed, was only the beginning.
This latest chapter follows Paul as he integrates himself with the Fremen to battle the Harkonnen following the fall of House Atreides, which claimed his father’s life, Duke Leto. While the Fremen are initially wary, Paul begins to win them over as he fights beside them to prevent their mutual enemy from succeeding in harvesting spice on Arrakis, eventually even considering him a fellow Fedaykin after proving his mettle.
Though Paul Atreides is believed to be dead by the enemy, his chosen Fremen name, “Muad’Dib,” after the adorable desert kangaroo mouse, becomes something of a legend across Arrakis and the Imperium as a whole.
Paul’s mother, Lady Jessica (Rebecca Ferguson), is tapped to become the Reverend Mother, and the Bene Gesserit uses her influence to stir the pot. She tells her Fremen followers to share what they’ve seen and heard about the supposed Lisan al Gaib—an off-world messiah—that factions of the Fremen believe has indeed arrived in Paul.
Even though Chani wants to see Paul find his way among her people and the desert, these spice-crossed lovers may not last. Chani firmly stands devoted to the Fremen, opposing what Paul represents to those who believe the prophecy of Lisan al Gaib.
Though Paul is cautious of entertaining this prophecy, his dreams continue to haunt him. He sees a silhouette of a woman leading him through a desert where people are dying en masse and is putting together what that could mean for his future in Arrakis.
The Fremen’s continued takedown of the Harkonnen results in another young man rising to power—the Baron’s (Stellan Skarsgård) nephew, Feyd-Rautha (Austin Butler). The growing conflict between the Fremen and the Harkonnen ultimately comes to a head with a showdown for the ages.
All this to say, a lot is going on, with the film’s opening line setting the tone, “Power over spice is power over all.” Villeneuve throws a lot of information and story at the audience, which is done in a way that is earned and digestible—especially for those unfamiliar with Frank Herbert’s book. More importantly, it all serves a purpose in moving the story forward, starting with the number of new faces on screen.
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