Dune: Part Two

How this film uses it

The second film makes Arrakis feel even more like a living system. The sandworms, the spice and the weather all act on the story. By the end, the desert is as much a character as Paul or Chani.

Where to see it

Paul riding his first sandworm. You can't tell the creature from the dune, and Paul is impossibly small on a living mountain of sand.

How this film uses it

Greig Fraser shot the Harkonnen homeworld sequences in black and white with an infrared digital camera. In IMAX, they look completely different from Arrakis. The huge format is put to work on industrial horror.

Where to see it

The Harkonnen gladiatorial arena sequence. It is shot in infrared black-and-white IMAX. The crowd is one faceless mass, and the violence has no color or humanity left in it.

How this film uses it

Paul completes the monomyth, the classic hero's journey, and Villeneuve makes that the tragedy of the film. The journey arrives exactly where it was always going. That place is the start of a jihad that will kill billions.

Where to see it

Paul accepting the messianic title and calling the Fremen to holy war. This would be the triumphant climax of a hero's journey, and the film shows it as a catastrophe.

How this film uses it

Hans Zimmer expands the musical themes he gave the Fremen and the Bene Gesserit in Part One. As Paul's transformation completes, the Fremen's drumming and throat singing swell into something close to war music.

Where to see it

The Fremen rallying cry, scored with Zimmer's percussion at its full, terrifying scale. The music that sounded mysterious in Part One now turns out to be military.