They drag their feet delicately across the arid Arrakis terrain, avoiding the rhythmic pattern that attracts desert sandworms. There’s an understated sweetness to their interactions, a sign of the pair’s growing intimacy. At one point Paul insists on the methods he learned from an anthropological video, and Chani responds with a skeptical and exasperated look.
It’s not that Villeneuve is uninterested in the Fremen. Paul’s integration with the Arrakis natives makes up most of), a religious Fremen army leader waiting for the Messiah, and the tentative approval of Chani. The pair help the eager royal acclimate to life in the desert by teaching him how to have a relationship with the land. Through their lessons, Paul sees the planet as more than a place from which to extract the psychotropic melange known as Spice.
When the film moves beyond the fight scenes, the approach to Fremen traditions is a bit shakier. As Paul builds trust among the Fremen army, his mother plants rumors among the people in the caves that her son is the Messiah. Despite Paul’s protestations, Lady Jessica and her “pre-born” fetus want to fulfill the mission of the all-powerful matriarchal religious group Bene Gesserit.
Villeneuve’s film is far better at showing the more obvious violence of imperial power and staging a more familiar and basic battle between good and evil. empire. There’s the introduction of the Emperor and his daughter, Princess Irulan , as well as the Baron’s sociopathic nephew Feyd . Through these characters, Villeneuve builds our understanding of the political and personal ties at work, and sets up Paul’s absorbing vengeance narrative.
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