In a more straightforward and conversational style: The Mahdi would never claim to be the Mahdi himself. Similarly, Denis Villeneuve might not consider himself the savior of sci-fi, but for science fiction enthusiasts who have longed for captivating space adventures overlooked by awards committees, Villeneuve seems to be taking on that role whether he acknowledges it or not.
For many of us who attended the long-awaited finale of Paul Atreides’s (Timothée Chalamet) revenge story in March 2024, it was with a sense of profound, starstruck wonder similar to how Javier Bardem portrayed Stilgar when the mysterious prophet known as “Lisan al-Gaib” merely exhaled.
As a movie enthusiast who specializes in science fiction, I’ve pondered if there are enough like-minded voters on the Academy board to crown this masterpiece as the Best Picture. Frankly, it feels like an uphill battle. If one considers Guillermo del Toro’s The Shape of Water more of a fantasy, then Everything Everywhere All At Once stands alone as the only sci-fi film in history to win the prestigious Best Picture award at the Oscars. This underscores the challenges that science fiction stories often face when vying for the biggest prize in cinema.
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It seems that in the Academy, sci-fi is not always viewed as a legitimate field of endeavor. When examining Best Picture winners, past and present, there’s a tendency to favor traditional movies – those with straightforward narratives, strong performances, often based on real individuals or events.
Is it always necessary for a masterpiece to be disregarded just because it features alien worlds and spacecraft? I would contest this idea and propose that if Dune: Part Two doesn’t receive the highest honors, then perhaps no purely science fiction work ever will.
Viewed purely from a science-fiction standpoint, Villeneuve’s Dune: Part Two was nothing short of astounding. He crafted diverse worlds and characters that seemed genuine and authentic, making it a shining example of what the genre was meant to achieve. It’s an experience that transports you, captivates you, and can only be fully appreciated on the largest screens available. If the Academy Awards are for anything, isn’t it to honor such achievements? To shine a light on artistry that pushes the boundaries of this medium?
Viewed from a broader cinematic perspective, Dune: Part Two transcends its genre’s limits. By adapting Frank Herbert’s grand narrative, it offers a profoundly dramatic narrative, with a power struggle reminiscent of Shakespearean times, culminating in an ending that leaves one genuinely stunned.
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This story skillfully utilizes its stellar ensemble, with Timothée Chalamet, in particular, shining in his central role. He evolves from a weak character into a strong leader over the course of 170 gripping minutes as Paul grapples with his fate and transforms into the relentless warrior he must become. Although he’s nominated for Best Actor this year in A Complete Unknown, it can be argued that he delivers a more complex and captivating performance here.
By blending his signature art-house style with conventional big-budget movie making, Villeneuve crafts a remarkable spectacle that is both captivatingly quirky and universally appealing. It’s no surprise that this film, along with Part One, exceeded box-office predictions; they have stirred the imagination of a wide audience in a way few other productions have managed recently, becoming cultural phenomena that even prominent directors like Emilia Pérez and The Brutalist can scarcely match.
Ignoring all these impressive accomplishments solely due to the presence of sandworms and Harkonnens wearing horns would undoubtedly be an injustice to Villeneuve’s skillful workmanship and his diligent team. Despite past biases against pure science fiction by the Oscars, this seems like a pivotal instance for the genre that could change its standing.
If the Lisan al-Gaib of hard science fiction doesn’t win the top award, it seems challenging to envision any author ever doing so.
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2025-02-26 23:04