Frank Herbert meticulously created a world that has remained potently captured within the cultural consciousness far beyond his time. Although Denis Villeneuve’s glory as a science-fiction auteur will be defined by “Dune,” his first sci-fi movie, “Arrival,” was based off Ted Chiang’s novella, ‘Story of Your Life.’ This “little masterpiece of writing,” as Villeneuve described it, allowed the director to show other worlds and extra-terrestrial life to those living in everyday life. The success of Villeneuve’s adaptations lies in the rich source material that the director discovered at the age of 13.
“Dune” and “Arrival” are childhood dreams come true for Villeneuve and his peers. But, more important than the ambitious attempt to actualize this dream inherent in this undertaking, was the desire to reignite and reimagine the beauty of Herbert and Chiang’s work. These films are gifts that offer pressing guidance on peace during divisive times, the dangers of blind belief and extremism, and above all, the importance of faith, love and hope.
Integral to the success of these films is realism. Although being purely science fiction, the acting performances are as visceral as a biopic. Zendaya, as Chani, brings an emotional centre through her character’s love of Paul, while Austin Butler and Dave Bautista illuminate the horror of politics and human nature in “Dune’s” world, and our own world, through their horror as members of House Harkonnen. Likewise, in “Arrival,” Amy Adams and Jeremy Renner are tasked to fall in love in the face of the possible annihilation of the human race, while wrestling to find solutions to seemingly unintelligible problems. Their performances allow audiences to digest the larger-than-life aspects of the film which leads to a more thorough understanding of what the film is trying to say and how well it says it.
Although Chiang was inspired by the concept of free will, the novella and film place at their center the question; what happens when we, us, encounter the other, them? “Arrival” indicts mankind’s propensity to perceive difference as a threat, and from this perception wantonly engage in unnecessary violence. In this way, “Arrival” shows the dangerous effects of geopolitical isolation and escalation in times of fear. The film charges audiences to consider empathy and patience as integral to understanding other, new beings, and bridging a meaningful connection. Dr. Louise Banks prevents an unnecessary war with these virtues and a simple adage; “In war there are no winners, only widows.”
Herbert intended his text to be a cautionary tale about messianic figures. The novel has long-since been thought of as displaying subconscious Western anxieties and fears about Arab political freedom and Islamic religiosity. Whether or not this is true, the film resonates within the zeitgeist particularly in light of the increased conflict in the Middle East. Even if there is no indictment made by Villeneuve, one cannot ignore that “Dune” is representative of present political struggles that are occurring in our world. Perhaps without intending to, this film forces audiences to leave cinemas and reckon with the rotten parts of humanity and systems of oppression found in our world.
Both these films place love and faith at their center. Dr Louise Banks continuously places faith in the aliens, and through this faith is able to dismantle the linearity of time to see the love of her life, her daughter. For Paul, ultimately it is the faith of the fundamentalists and believers which he manipulates to wage his war, and in this process, he loses his love, Chani. Ironically, Villeneuve is known for his disdain of dialogue. The director does not remember movies because of a “good line,” but because of a “strong image.” It is precisely through his images, that he imparts these wisdoms, reflects on our world and shows us the chance of a better one.
