There is a tendency in film for a sequel to never match the success or the brilliance of its predecessor. However, Dune: Part Two makes for an outstanding exception.
Director Denis Villeneuve brought us Dune in 2021. Frank Herbert’s 1965 novel was finally done justice in film after the lackluster attempt at an adaptation in 1984. We were introduced to the world of Paul Atreides (Timothée Chalamet) and his family, the House of Atreides. Dune tells the story of the desert planet Arrakis where the most valuable resource exists: spice. Paul Atreides’ family is given authority over Arrakis at the Emperor’s order not as a gift, but rather as a mission already failed. Upon arriving on Arrakis, House Atreides begins to experience difficulties with the planet, from large sandworms to its people simply not believing in the intended kindness of Atreides. Part one of Dune captures the audience in the way a child once sees a circle but now holds a sphere. With this world that Villeneuve brings, he grabs your hand and throws you in the deep end. Now, Dune requires your attention and patience with long expositions to properly explain the world and characters. The audience needs to be acclimatized to this high sci-fi story. But that is why Dune: Part Two is exceptional. It delivers a satisfying delayed gratification.
Beyond a beautiful score, and experimental but realistic costume designs, Dune: Part Two builds on the political and social commentary introduced in Dune. Many viewers criticized the franchise for displaying Paul Atreidies as a hero, or “white savior.” But this is the exact misinterpretation that happened in 1965. Readers understood Paul as a hero and glorified his actions. Herbert intended to do the opposite: demonstrate how charismatic individuals may exploit religion through fanaticism for their own agenda. Paul is never the hero in Dune. He will use anyone as a means to an end for the future he envisions. Dune is written to be a cautionary tale. Herbert wrote Dune Messiah in 1969 to correct the audience’s perception of Paul. It is Paul’s final actions in Dune: Part Two that solidify him as, yes, the protagonist, but certainly not the hero he has convinced the Arrakis people he is. Throughout the second installment, we see the collaboration between the Bene Gesserit, Paul and his mother, Lady Jessica. The Bene Gesserit, first introduced in Dune, is an order of women who possess psychic-like powers and have been selectively breeding for generations to create the Kwisatz Haderach — a messiah of sorts. The Bene Gesserit believe Paul to be the Messiah which coincides with the people of Arrakis (Fremen) belief in their messiah: Lisan al Gaib. Paul and his mother take advantage of this moment and exploit the belief and trust of the Fremen, painting Paul as the Messiah. The political commentary in Dune: Part Two acts as a warning of religious extremism, charismatic leaders and the exploitation of belief. This sets it apart from every movie on the 2025 Oscars Nominations list, as well as movies from previous years.
The performances from Chalamet as Paul Atreides, Zendaya as Chani, Austin Butler as Feyd-Rautha and, most importantly, Rebecca Ferguson as Lady Jessica, cement Dune: Part Two as a phenomenal film that demonstrates how far the sci-fi genre can go. And for Villeneuve as a director? His work on adapting the dense novels by Herbert showcased the possibilities of future book adaptations. It was a crime not to see Villeneuve nominated for Best Director this year for the second installment of Dune. But yet, the Oscars have not completely failed cinema. Dune: Part Two is nominated for five categories, namely, Best Picture. Compared to the first installment’s six wins out of 10 nominations at the Oscars, Dune: Part Two has not received the same recognition from the Academy. Unfortunately, the answer lies in timing and pseudo-relevance. The Oscars notoriously favor films that are released later in the year, closer to the award night. The second installment was released in March of 2024, too early in the year for the Academy to recognize its brilliance.
Out of every nomination for Best Picture, Dune: Part Two stands apart. From the actors’ dedicated performances to Villeneuve’s directing and how he presented the world straight from the page, Dune: Part Two knocks every other contender out. Watching the Fremen traveling on the sandworms on a theater screen was certainly an experience I won’t find again.
The film criticized and discussed religious extremism and political power struggles. It presented a remarkable score from Hans Zimmer that makes you hold your breath as you become enraptured in the landscape and people of Arrakis. We, the audience and the Academy must not take Dune: Part Two for granted. We must celebrate brilliance in film so that large projects continue to be funded instead of quick productions for a quick profit and instant gratification. I will wait until 2026 for Dune: Messiah because I trust Villeneuve to deliver.
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Emilia Pérez receiving 13 Oscar nominations, among them Best Picture, compared with five nominations for Dune: Part Two is nothing short of appalling. I hope the Oscars recognize the true Best Picture of 2025, but if they do not, I hope we still can celebrate the success that it is.
Sophia Romanov Imber is a freshman in the College of Arts and Sciences. She can be reached at [email protected].