All of 26, Chalamet already exhibits the range of someone in their late 30s (at least), and while he is sincere and devoted through all of it, Dune does not test him as an actor. As Paul, he is a studious, disciplined and haunted young man. It can get slightly annoying, but it also seems unavoidable in a film with more than two dozen recurring characters, where Javier Bardem turns up randomly to spit on a table.Ĭhalamet has played a similar character before in David Michod’s The King (2019), where he gradually transforms into Henry V. We do not get information-dump scenes, but we constantly hear people explaining things to another person. It is intricately plotted, and while there is a lot of ground to cover, Villeneuve tries his level best to make it seem as organic as possible. Leto tells Paul that the Emperor is not doing anyone favours, and that it could quite possibly be a death trap considering the heat on Arrakis could be just one of the dozen ways to kill someone.
Almost on cue, Paul’s father, Leto (Oscar Isaac) is told to preside over Arrakis, instead of their long-time rivals, the Harkonnens, who have witnessed obscene profits because of the spice. He is trained by his mother, Lady Jessica (Rebecca Ferguson), with the hopes that he is the messiah her sisterhood (the Bene Gesserit) has been looking for. In his dreams, Paul sees himself accompanying a local girl (Zendaya) and leading a rebellion. Paul Atriedes (a disturbingly lean Timothee Chalamet) dreams about Arrakis, a planet known for its endless repository of spice, a vital commodity for interstellar travel in the future. It is brilliant how Villeneuve finds a way to tell an ancient story of ‘the chosen one,' without sacrificing his own personality. What is miraculous is also the way director Villeneuve finds a way to marry the big and small, the political and the personal, the spectacle with a film also saying something about our present. However, Villeneuve never lets the overelaborate sets the campy make-up or the (at times) expository dialogue to be a burden on the final film.Īn adaptation of Frank Herbert’s once-considered ‘unfilmable’ 1965 novel, Dune takes an ambitious approach towards telling the story over (possibly) two parts. The camera routinely cuts to a wide shot showcasing the gigantic spaceships, the desert of Arrakis that could probably swallow an entire army without leaving a trace, sand worms the size of giant craters on the moon, and tiny specks of humans whose all-pervading interests determine what happens to all of it. The first thing one might notice about Denis Villeneuve’s Dune is how everything seems huge in it. Dune movie review: Denis Villeneuve, Timothee Chalamet sci-fi fantasy is high-stakes filmmaking at its finest
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