Review: "Dune: Part Two" is more History than Story

by Cláudio Alves

Denis Villeneuve's second Dune movie isn't a sequel, not quite. As the full title implies, it's part two of one madman's attempt at transcribing Frank Herbert's seminal space opera on the big screen. And so, it starts almost at the exact point the 2021 film ended, with Timothée Chalamet's Paul Atreides seeking refuge among the Fremen after his Great House was dilacerated in a violent coup. The body of Jamis, the man Paul killed in ritual duel, is still fresh and carried by Stilgar's tribesmen as they guide the princeling and his mother, Lady Jessica, to the underground warren of Sietch Tabr. A prophecy is at stake, and enemy troops aren't nearly as deadly as the dangers waiting for them in the planet-sized desert.

Dread is everywhere, overwhelming, sticking in the throat until it feels like you're already being suffocated by the film before its epic imagery can get a chance to crush you. Villeneuve has done it again…

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Ranking Roger Deakins' Oscar Nominations

by Cláudio Alves

Roger Deakins on the set of EMPIRE OF LIGHT | © Searchlight Pictures

Since two categories merged into one, no director of photography has amassed as many Oscar nominations as Roger Deakins. The British cinematographer earned his 16th nod this year for Sam Mendes' Empire of Light, having previously won for 1917 and Blade Runner 2049. His career spans continents and six decades, encompassing projects as varied as a Marvin Gaye video clip and pioneering work in animated cinema. What started as an early interest in the possibilities of digital filmmaking has turned into a veritable pursuit of innovation, bringing classic technique to virtual spaces. A visionary, a pioneer, a living legend, Roger Deakins is one of a kind.

To celebrate the master, let's look back at his many Oscar nominations, ranking them along the way. After all, in times of awards fever, everyone loves a good list…

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What's next for this season's Oscar-celebrated directors?

Tis the post-season to wonder about next season... and the seasons after that. While Will Packer, ABC, and the Academy continue to try to dull our love for Oscars, they could never dull our love for the movies themselves. So let's look at what this year's most celebrated filmmakers are up to next. We'll take them in alpha order...

PAUL THOMAS ANDERSON
PTA, who turns 52 this June, has 11 nominations to his name but no Oscar yet since he just lost his Licorice Pizza directing and writing bids. Generally he takes quite a long time between films though he tends to stay busy inbetwen directing music videos (the latest is Haim's "Lost Track"), fatherhood  since he and Maya Rudolph have four children between the ages of 10 and 17 (one assumes that keeps them busy) and, we hope, tinkering on script ideas. So who knows!?

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Oscar Volley: Can anyone beat Jane Campion? Or, rather, who is in second place?

Team Experience is discussing the various Oscar categories. Here's Mark Brinkerhoff and Timothy Lyons to discuss Best Director

MARK BRINKERHOFF: There's only a few days left of Oscar voting. So, in the spirit of balloting, let’s settle something when in comes to one of this year’s presumably more predictable categories: Best Director. And the 2021 nominees are...

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Oscar Volley: Those DGA Nominees (and more) in Best Director

Our Oscar Volleys series is down to our last two categories. Here are Tim Brayton and Eric Blume to talk Best Director. (This volley was recorded before the BAFTA announcement but since those nominations are juried they probably won't have much bearing on Oscar outcomes.)

Eric Blume:  Tim, I'm thrilled to talk shop about the Best Director category. Let's start with Jane Campion, Denis Villeneuve, and Kenneth Branagh who all seem unlikely to miss.  I'm personally thrilled that Campion might ride her crest all the way to a win. Nobody else could have made The Power of the Dog work so layered and subtle, or told that story without it seeming heavy-handed, obvious, or silly. The film gives Campion the chance to do her specialty: embroiling us in a narrative and in character motivations so intensely strange yet fully human that we're transported by our own confusion and curiosity.  She has that special ability to deliver a rare grounded sense of whatthefuckery in her movies. There are moments where so much is happening psychologically, where so many meanings are transpiring simultaneously, that you can't even fully process it until it's passed you by.

I'm also a huge fan of Villeneuve, a natural-born filmmaker if there ever was one...

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