‘Dune: Part 2’ is the best space saga of recent years (and perhaps the biggest film of 2024); g1 already seen

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Conclusion of the story started by Denis Villeneuve and Timothée Chalamet in 2021 is grandiose, mind-blowing and discusses fanaticism without being boring. The film premieres this Thursday (29). “Dune: Part 2” is everything science fiction should be. The conclusion of the space epic that began in 2021 premieres this Thursday (29) in Brazilian cinemas as the perfect meeting of grandiose action and a relevant discussion on complex themes such as religious fanaticism and fascism. In short, Denis Villeneuve has done it again. In part 1 of the adaptation of Frank Herbert’s classic, the filmmaker of “Arrival” (2016) and “Blade Runner 2049” (2017) had already proven himself to be the current great master of the genre. In this second half, it takes advantage of the most exciting part of the book to deliver the best space saga of recent years – within science fiction itself, it is only second to “Arrival” itself and “Everything everywhere at the same time” – and maybe the big movie of 2024. Yes, it’s not even March yet. “Dune: Part 2” is really that good. Watch the trailer for ‘Dune: Part 2’ A world of pure spice The story continues where the first left off. You could even watch it straight away without having watched the previous one, the show would be the same, but the challenge of completely deciphering the plot would be unnecessarily greater. In the new “Dune”, Timothée Chalamet (“Wonka”) returns as the protagonist, a young man who has just seen almost his entire clan decimated by their greatest enemies. Lost on the hostile and dangerous planet they once controlled, he and his mother (Rebecca Ferguson) are rescued by native Fremen. As he learns the culture of his new companions and falls in love, he is reluctant to assume his role as the savior of an ancient prophecy, even though this is the quickest path to revenge against his rivals and the emperor. Timothée Chalamet and Austin Butler in a scene from ‘Dune: Part 2’ Disclosure Elvis, Wonka and God fight on a dune If the return of Chalamet, Ferguson (“Silo”) and a large part of the star cast wasn’t enough, “Part 2” tells with strong additions such as Florence Pugh (“Oppenheimer”), Austin Butler (“Elvis”) and Christopher Walken (“Severance”). Butler proves he has a lot to gain when he moves away from the King’s ghost and plays with a psychotic character. Chalamet, who receives a more mature and central character to the plot, proves that he was the right choice to lead the saga. But it is Javier Bardem (“Mother!”), who returns as the leader of the natives, who grows the most with the sequel. Without the Spaniard’s debauched spirit, the character would not have the same weight in demonstrating a sincere devotion to the protagonist’s messiah – and becomes largely responsible for getting laughs in tense moments and giving veracity to absurd situations. Scene from ‘Dune: Part 2’ Disclosure Shot, beating and worm With such a competent cast, Villeneuve has the freedom to do what he does best. In your hands (and eyes), the action scenes continue to an enviable crescendo. Each incredible sequence is followed by an even better one, and just when it seems like there’s no more room to evolve, he outdoes himself by putting the viewer in the middle of a massive explosion. The rhythm is supported by Hans Zimmer’s once again brilliant score, which definitively proves that “Dune” is indeed his home planet. If his histrionic style fit well with “Part 1”, in the frantic sequel it seems like he was genetically developed for it. There is so much precisely choreographed fighting, so much beautiful battle, so much giant worm created to perfection by visual effects that the themes explored in the book are inserted almost by chance. Josh Brolin and Javier Bardem in a scene from ‘Dune: Part 2’ Disclosure High points highlight the lows Of course, the portrayal of religious fanaticism and fascism are undeniable and embraced by the filmmaker, but at no point are they discussed in a boring or reductionist way. More than that, the script by Villeneuve and Jon Spaihts (“Dune”) presents new and exciting visions – important to move away once and for all from the crude and outdated “white savior” narrative. Herbert had already made it clear that the book’s protagonist was no hero, but film adaptations of literary works invariably miss such subtleties. “Part 2” triumphs in the difficult mission of showing how colonizers use narratives to dominate in ways other than force – and how the character’s possible victory is far from being the Fremen’s salvation. It is impossible to ignore, however, a discomfort with a dose of orientalism and the old cliché of the standard represented by white and the exotic as “diverse”. The script tries hard to make the wrong structure an advantage and, at certain moments, it comes very close to succeeding – at least until the moment when the most attentive viewer wonders if it wouldn’t be easier to cast another ethnic group as the protagonist. Rebecca Ferguson in a scene from ‘Dune: Part 2’ Disclosure Bright future Such issues take away some of the film’s shine. Luckily, he shines enough to not be overshadowed by his weaker decisions. “Dune: Part 2” is cinema as cinema should be. It excites, excites and does not avoid relevant discussions just because they are difficult. It may not always come out with the best answer, but it’s almost three hours of what the audience would like to see twice as long. The 2024 Oscars haven’t even happened yet, but it’s not difficult to envision a near future in which the 2025 Oscars are dominated by “Dune.” And it will be fair. Timothée Chalamet in a scene from ‘Dune: Part 2’

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