Chani proudly speaks of her desert planet, Arrakis, describing its beauty at sunset when the spice fills the air, setting the scene for Denis Villeneuve’s “Dune: Part One.” This adaptation of Frank Herbert’s 1965 science fiction masterpiece has garnered worldwide acclaim, not only for its breathtaking visuals but also for its deep dive into themes of false idols, imperialism, and religion. Three years on, “Dune: Part Two” continues to impress critics, though it faces scrutiny for its handling of the source material’s Middle Eastern and North African (MENA) influences and its commentary on Western imperialism. The film has been criticized for its lack of MENA actors in speaking roles and for diminishing the story’s MENA elements.
Villeneuve’s sequel delves deeper into the world of Arrakis and its native inhabitants, the Fremen, whose lives are irrevocably changed by Paul Atreides, an outsider whose rise to power shapes their destiny. Marooned on Arrakis with his mother, Jessica, Paul seeks vengeance for his father’s death and immerses himself in Fremen culture, growing close to Chani and grappling with his potential role as their prophesied savior, the Lisan al-Gaib.
The “Dune” saga, while set in a fantastical universe, draws heavily from Middle Eastern, North African, and Islamic cultures. Herbert’s inspiration came from figures like T.E. Lawrence and historical events such as the Algerian War of Independence, reflecting in the Fremen’s struggles against external forces. Herbert himself acknowledged the Fremen’s deep roots in Arabic culture, shaped by centuries of hardship.
In “Dune: Part Two,” the film incorporates distinctive MENA and Islamic cultural elements, such as Amazigh-like facial tattoos on Lady Jessica and Fremen dressed in abaya-like garments, set against the desert landscapes of Jordan and Abu Dhabi. The script also includes Arabic terms, enriching the story’s cultural tapestry.
Despite efforts to remain true to Herbert’s depiction of the Fremen, the casting decisions in Villeneuve’s adaptations have sparked debate. The films have been criticized for their lack of MENA representation, with only a few actors of MENA descent in significant roles. This has led to frustration among viewers and industry professionals who see it as a missed opportunity to honor the rich culture and heritage that inspired Herbert’s work.
Critics also point out that the films make changes from the source material that dilute or erase MENA influences, such as altering language and cultural references for “believability.” This has led to concerns that the adaptations miss the opportunity to fully explore and respect the anti-colonial message at the heart of Herbert’s novel.
Despite these criticisms, Villeneuve’s “Dune” films have been praised for their visual spectacle and the director’s understanding of science fiction as a lens through which to examine contemporary issues. However, the debate over representation and cultural fidelity highlights the ongoing challenges in adapting stories inspired by marginalized communities in a way that is both respectful and engaging.
As the “Dune” saga continues to captivate audiences, it serves as a reminder of the importance of honoring the sources of our stories, ensuring that the voices and cultures that inspire them are not only represented but celebrated on screen.