Split Decision: “Dune: Part Two”

In the Split Decision series, two of our writers face off on an Oscar-nominated movie one loves and the other doesn't. Today, Cláudio Alves and Lynn Lee discuss Dune: Part Two...

CLÁUDIO ALVES: As far as the Best Picture Oscar race is concerned, sequels are quite the rarity. Early year releases are even rarer. Yet, Dune: Part Two made it into the Academy's top ten, scoring four additional nominations - Cinematography, Production Design, Visual Effects, and Sound. Sure, by this metric, it pales in comparison to Part One, with its double-digit nods and six wins. But it's still a remarkable achievement. To be honest, I had a much better time with the sequel than with its predecessor. Part of it concerns a better grasp of what Villeneuve is doing in his adaptation of Frank Herbert's magnum opus, observing people as grains of sand in the winds of an imagined history rather than as characters. It's about the tragedy of going beyond personhood and the labor of building mythos and monuments, which results in a cold, mural-like cinematic experience that feels more coherent than its first chapter made it seem. In its alienation, I saw a purpose I didn't find in 2021.

I gather you had a different experience, Lynn. How does Dune: Part Two compare to Part One in your book?

LYNN LEE: It's funny, Cláudio - I completely agree with your assessment of what Part Two is doing, only to have the exact opposite response! To be clear, I don't hate or even dislike the film.  Quite the contrary.  I admire Villeneuve's craftsmanship and commitment to his (and I think Herbert's, though I haven't read the books) vision of Dune as ur-myth.  However, its coldness...what can I say?...left me cold.  Its alienation alienated me…

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Review: "Challengers" throbs with desire

by Cláudio Alves

American mainstream cinema has rarely felt as sexless as it does today. Even in the period between the 1934 implementation of the Hays Code and its demise, screens felt roused with desire. In some ways, the prohibition of overt sexuality supercharged movies with erotic potential, like a pot of boiling water that heats up faster once you put a lid on it. But nowadays, such qualities feel like artifacts of a bygone era. That's not to say movies suddenly lack objects of desire. Instead, as RS Benedict put it in his essay on superhero films, "everyone is beautiful and no one is horny."  But here comes Luca Guadagnino to the rescue, that lustful Italian whose films beckon a return to hedonistic cinema even when produced within Hollywood. Challengers is a prime example of that…

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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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Are we getting a "Scarface" reunion at the Oscars?

by Cláudio Alves

As the first lists of Oscar presenters are released, it's fun to try parsing out potential connections between invited names. Even if it's nothing but a brief shot of nostalgia at seeing two familiar faces backed by a classic's main theme, there's something thrilling about the whole apparatus. Since the Oscars have grown so allergic to celebrating cinema's past – unlike the Grammys - these tidbits feel extra special. When perusing the first batch of celebrities, a couple of names stood out. First, we have Michelle Pfeiffer, eternal Film Experience favorite. And then there's Al Pacino, who starred with the blonde star in Brian De Palma's Scarface. The picture just celebrated 40 years last December, making an awards show tribute especially timely.

Would you like to recall Pacino's iconic Tony Montana and Pfeiffer's chilly, sensual Elvira? I know that in my ideal world, she'd have been a Best Supporting Actress contender in 1983, while her costumes would have earned an Oscar. And these are far from the only big names presenting at the 96th Academy Awards…

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Emmy Category Analysis: Lead Actress in a Drama Series

By Abe Friedtanzer

Previous winner Zendaya in her standout episode of Euphoria

Though none of last year’s Lead Drama Actress nominees were eligible this year, the shortlist for 2022 is actually pretty close to what this category was like two years ago albeit with a different actress from The Morning Show in contention. Two Emmy seasons ago, Zendaya was the big winner for her buzzy freshman show, and now her fiercest competition is also in a buzzy freshman show. Melanie Lynskey is hot off a win from the Hollywood Critics Association. While it’s possible that the other four will factor into the race, it feels like a race between those two.

But let’s dig deeper. Brief descriptions of the nominees below - click on the episode titles for spoiler-filled reviews…

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