Contact to us

Sun. Dec 5th, 2021

“I know you,” murmurs Paul, the young protagonist of Denis Villeneuve’s “Dune.” He’s referring to a beautiful woman who has wandered in his unconscious, all windswept hair and piercing gaze, halfway between dream and perfume advert.

Now she stands before him, flesh and blood; a vision no more. Yet she’s flintier than anticipated, brusquer than the fantasy. Expectation, meet reality. Listening to Villeneuve speak, you hear a director acutely aware of expectations — of the fans of Frank Herbert’s original book, of the film studio, even his own. It’s both ironic and only fitting that to meet them, Villeneuve had to dive into his own unconscious. Speaking to CNN, he described the meditation and work in dreams he utilized to “go back to the source.”

“The idea,” he said, “was to try to bring back to the surface those images that I had in my mind when I (first) read the book — those uncorrupted images that I had at 13 years old.” In cinema, the possessive has followed the 1965 sci-fi novel wherever it has gone: it’s Alejandro Jodorowsky’s “Dune,” David Lynch’s “Dune,” and now it’s Denis Villeneuve’s. One source, many visions wrought in the mind’s eye. But where expectation meets reality has historically been a sore point. Jodorowsky’s film was aborted in the 1970s, Lynch’s critically panned in the 1980s. Villeneuve’s floats on the whims of a turbulent global box office, although he might have finally captured the essence of the thing.

The French Canadian has been thinking about “Dune” ever since his teenage years, and for decades he’s carried images and ideas inside. “I said to my crew at the beginning I would love it if we were able to try to create images that are not inspired by other influences,” he said. “It’s a very romantic approach,” the director conceded. “Technically impossible.”

By admin