There is a reason why 'Dune 3' seems completely different from the first two parts: it is

The first trailer for Dune: Part Three has generated a lot of buzz among fans of the saga, as it shows a notable visual change compared to the previous two installments. This evolution is not only due to an aesthetic update; it marks a reconfiguration of Frank Herbert’s cinematic universe, reflecting the ecological transformation of Arrakis. Under the cinematography of Linus Sandgren, who replaces Greig Fraser, the film presents richer tones and a texture that enhances the image, providing a new visual grammar that enriches the viewer’s experience. Arrakis, sunnier than ever In this glimpse, the […]

The first trailer for Dune: Part Three has generated a lot of buzz among fans of the saga, as it shows a notable visual change compared to the previous two installments.

This evolution is not only due to an aesthetic update; it marks a reconfiguration of Frank Herbert’s cinematic universe, reflecting the ecological transformation of Arrakis. Under the cinematography of Linus Sandgren, who replaces Greig Fraser, the film presents richer tones and a texture that enhances the image, providing a new visual grammar that enriches the viewer’s experience.

Arrakis, sunnier than ever

In this glimpse, the planet Arrakis transforms from an arid desert to an environment in full metamorphosis, evidenced by the appearance of rain and vegetation, elements that profoundly alter the narrative and the perception of the landscape.

This visual change symbolizes a more introspective and political story, in contrast to the focus on war and survival in previous films. The effects of Paul’s jihad and the Fremen’s terraforming project become visible after a 17-year time jump, which also translates into changes in the color palette, favoring brighter tones and less saturation.

With a narrative focus on the challenges of Paul Atreides and the intrigues of his empire, the use of 65 mm cameras and traditional filming techniques accentuate the emotional depth of the characters. Sandgren, known for his sensitivity to color and texture, brings a new level of detail, especially in the most intimate and dramatic moments.

This technical style becomes a metaphor for the evolution of Arrakis and the power of Paul, while establishing a visual connection with the antagonists, such as Scytale, thus highlighting the complexity of the story that concludes Villeneuve’s trilogy.

Author: Jesús Bosque

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