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#kwisatz haderach
the-crooked-library · 1 month
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regarding Dune Part 2: i am obsessed with its consistent visual theme of self-destruction. the shot of paul surrounded by his new followers seems triumphant - until the viewer remembers that each crysknife is made from a tooth of shai-hulud, and paul is standing in a circle of them, in the allegorical mouth of the worm. he orders a missile strike, and the viewer sees them fly directly through his head. every victory for the prophecy is a blow to paul himself; he's killing himself with every step he takes towards his destiny, and we know that already, and the film is screaming it, but it's a hell of a thing to watch it happen, isn't it?..
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jaxmos · 1 month
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has anybody done this yet
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all-inmoderation · 2 months
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Paul, looking out in horror at the Harkonnens massacring Sietch Tabr, saying "I didn't see this coming" (I should've/could've seen this coming). Paul, having a vision of Chani dead in his arms. Paul, having a vision of a djinn Jamis telling him to drink the Water of Life so he can see the future. Paul, after months of being terrified of what the prophecy will do to him, willingly going into it so he can See. So he will be able to See the future and protect the people he loves. Paul, succumbing himself to monstrosity, in the end.
Paul, watching Chani walk away.
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artofchinara · 1 month
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The Voice of the Outer World.
I absolutely adored Dune. What a visual masterpiece! If you can, check it out in cinemas - it is absolutely worth it.
Prints also available in my shop!
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bbabyteeth · 2 months
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“May thy knife chip and shatter..”
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andrromedas · 19 days
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You should fear me, Mother. I am the Kwisatz Haderach.
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The Mother and the Son!
Dune by Frank Herbert / Sabaa Tahir
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the-gom-jabbar · 5 months
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thedeadtravelfast · 4 days
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Paul drinking the Water of Life:
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Feyd if he drank the Water of Life:
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ladypepsfanart · 2 months
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I've been waiting for Part Two ever since I watched the end scene for Dune in 2021, and it DID NOT disappoint!  Part two was one of those movies where I felt like I needed to just process all I saw a few hours afterwards.  The story was told so well and with such care for the source material, and the visuals were absolutely stunning.  It's one of those movies (for me, at least) where it didn't feel nearly three hours long and I wanted just a bit more at the end, especially given the way that Villeneuve chose to close it that felt like a punch to the gut LOL
The parts that really stood out for me were the opening scene with the eclipse (HOLY COW I COULD GO ON ABOUT THAT SCENE FOR HOURS) and the way that the audience watches Paul struggle with embracing the identity of the Kwisatz Haderach for most of the film.  I wanted to capture both of those parts with this piece, hinting at the internal conflict and the coming Holy War that's set up at the end of the movie with the blood on his hands.
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noona96n · 1 month
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i respect people's decision to have Feyd bending Paul over and going ham on him or have Paul ride Feyd into oblivion.
but...
may i present to u...
Paul Atreides, Maud'dib, the Lisan Al Gaib, the Kwisatz Haderach, but, most importantly, Feyd's bride-to-be in another life, bending over the bald, feral, sadist twink with a humiliation kink visible from space and having him right. there. on the fckn floor and there's nothing Feyd can do but take. it.
and he just... takes it like the feral good boy that he is.
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ellestra · 2 months
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Paul Muad'Dib Usul
Dune Part 2 had more changes to the story than Part 1. It's not just omitting stuff for the sake of time but also changing the roles of many prominent characters. On one hand I understand why it feels like changing the story and characters. I felt it too watching - especially with Jessica and Chani becoming so different.
But on the other I feel it makes final message clearer. There are so many people who mistake this for a hero's story. This is why the white saviour phrase is so often thrown around. I feel like this version of the ending makes it very clear that is in not what Paul becomes.
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It makes it sadder too since we see him try to avoid this and just be part of his new home. But the weight of expectations of so many people leave very limited options - from the believers and Jessica to his old life and Gurney Halleck - they all push for what they want him to be so they can get their fight and their revenge. And none of them is interested in the cost. Just like Stilgar they see the opportunities to get what they want and ignore everything else (which really is so common in wars it's not surprising even 20 000 more years in the future nothing changes). So Paul is left with only two options - it's either swim with the current and keep some control over where it takes him or go against it and drown.
It is of course magnified by the other side doing all they can to stack the deck for themselves so it's either victory or annihilation. And trying to pull the rains out of the hands of forces controlling the universe is never not bloody.
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Reverend Mother Mohiam admits here directly that Bene Gesserit didn't just want a Kwisatz Haderach. They wanted one they could control. Just like they planted religions to control the populaces of countless worlds. But this kind of manipulation is easy to get out of hand when infighting happens and in the end not even chosen one can chose how it ends.
Even knowing the truth doesn't stop it. Even knowing what will happen doesn't stop it. Avalanche of history only stops at the bottom and you can only hope not to be one buried by it. But you can still judge those who started it.
The parts under the cut are bit more spoilery (about spice and controlling the universe)
So I don't necessarily disagree with the changes. Like I understand why Alia the way she is in books wouldn't really work. And I certainly get why they cut Count Fenrig. But there is one thing I wish they did leave - the Space Guild confrontation. Because this is missing important part of the message - the person who rules the Empire isn't the Emperor but the one who controls spice. Paul taking the title is just a formality.
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Spice has always been the clear metaphor for oil. Spice is what allows for space travel and without it world become stranded alone. People are literally addicted to it and its life prolonging properties. Who controls the Spice controls the universe. And the person who can destroy something controls it. And this means there is no stopping the jihad. No bombing Arrakis from space. No travel ban on Fremen from Spacing Guild.
This allows Paul to destroy the old balance of power. He controls it all but he only does it through fulfilling other people expectations of who he is. And that means he becomes figurehead of a holy war. Those who helped him win now awaiting their rewards in blood for all that was done to them.
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PAUL "MUAD'DIB" ATREIDES from DUNE
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JUSTIFICATIONS:
"shes the embodiment of feminine energy in an amab body and also it wouldnt save her bc shes doomed to her fate but it would make her Better" - @bimbutchpride
"1. the way prescience works in the dune universe is super gender essentialist, so being the kwizats haderach basically makes paul the first non-binary person to EVER have existed in the dune universe (I'm not joking). the reason paul is fully prescient is because he can see into both the feminine and masculine parts of himself, which no one else can do. paul also transfers his ancestral memories into both his son AND daughter.
2. paul was "supposed" to be born afab. it's a huge plot point. thousands of years of breeding programs have been going on, and paul's sole intended purpose in that was to be a woman. being born amab is what makes paul the kwizats haderach, but the kwizats haderach was supposed to be born a generation later, so he existence screws everything up.
3. being the kwizats haderach (a.k.a. not being entirely spiritually male) makes paul super dysphoric. every time he chooses to use his inherently male ability to see into the future, he locks himself into that future, and that terrifies him. he feels doomed to grow up to fulfill his specifically masculine role. after growing up and becoming that man, he spends most of his time being super depressed and dissociating.
4. he is analogous to jesus and jesus is trans to me
in conclusion, puberty blockers and estrogen would not have only saved paul but also would have stopped maud'dib's jihad and saved 61 billion lives 😔" @goat-boy-sounds
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prickly-paprikash · 1 month
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One of my favorite things about Denis Villeneuve's style is how utterly masterful he is at subtle storytelling. Using the visuals to tell a tale that, even when you don't figure it out explicitly, one feels it immediately.
In Dune Part 1, my favorite form of this is at the very beginning when the Herald of the Change arrives to formalize the transition of Arrakis' ownership from the Harkonnens to the Atreides. The procession is full of pomp and posturing, with the Herald speaking in this loud, bombastic voice just to announce what is already a given, and Leto responds with his own spectacle—the armies of Atreides, chanting as one. It's all a show, since at this point House Atreides has been commanded by the Emperor. The contract is a legal formality; the costly procession on Caladan was (un)necessary showmanship. In the books, showing off the illusion of power and authority is vital in maintaining this cruel, unyielding power system, and without bringing mention of it, the film shows this off too. Then, once the Duke has sealed the form with his signet ring, everything just... drops.
Leto looks at the Herald in the eye, and asks, "So, it's done?"
And just as Leto replied to the grandiose display of the Emperor, the Herald now replies with the levity the situation truly deserves.
"It's done."
Both the Herald and the Duke know what this truly is. It's not a reward. It's not a show of love. The Herald, at this moment, is looking at a dead man walking. Millions of their currency sunk into this process, barely five minutes in total, and all to simply declare it all "done."
You can even feel a sense of satisfaction from the Herald.
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The Emperor, in his paranoia and envy, guided the hand of the Atreides into a trap. And the Atreides know it is their doom, but they have no choice. They are popular and loved by the Great Houses, but they are bound by honor. And bound by might.
And all of this, narrowed down into one brilliant scene.
Once again, this subtle, visual storytelling is in full display in Part 2, and my favorite by far happens on Giedi Prime.
The Bene Gesserit Sister, Lady Margot Fenring (who is also a Lady of her own House in the books), watches on as one of their prospects, Na-Baron Feyd-Rautha engages in ritual combat for his birthday. Afterwards, in a hallway lit by only the fireworks outside, she stalks the Harkonnen heir, and Feyd catches on immediately.
Here's the thing: barring other Sisters of the Bene Gesserit, Paul Atreides, and some very gifted Mentat Assassins—you will never know if a Sister of the Order is stalking you. From the beginning, she had wanted to be caught by him. A lure. A tantalizing bait, perfectly designed to entrap the feral Feyd.
And he sinks in immediately.
Here is where my favorite visual storytelling comes into play.
In the hallway, we begin with a fully covered Margot. She is veiled completely in shadow, with the oil fireworks illuminating only her visage.
Next, Feyd strikes and holds his blade to her neck, revealing her face. But only her face.
Slowly, the scene shows off little by little her skin. In the hall, I believe the most we see is her throat, and I could be mistaken. The light flashes erratically, and we see her the way Feyd must see her.
In the shadows, a threat. In the brief sparks of light, a curiosity.
And when Margot confuses him, leading him to the Guest Wing where she stays, the light fully shows her off. She's still in formal clothing, but now we see her dress. It reveals a plunging neckline that barely shows off the top of her chest. Her top is sleeveless, showing off her shoulders and the soft musculature of her arms. In the dark, we could clearly see her wearing a veil that covered her body.
And the light mimics her, stripping away and revealing something beautiful. Irresistible, especially to Feyd, who despite his high intelligence and skill, is just as brutal and animalistic as his uncle and brother. All three so easily give in to their vice, and Feyd is no different.
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He is allured by her. He lusts after her.
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And all this without a word hinting towards sex in their entire shared dialogue.
Just the use of light, shadow, and body to tell a story.
Afterwards, Margot speaks to the Reverend Mother and Princess Irulan, revealing that she has secured a child from Feyd in her womb, which again without saying anything specific immediately shows that the Sisters have such power over their own bodies that they can ensure fertilization and have complete knowledge over their pregnancy. They even control what sex the child will be, as alluded to in Dune Part 1 when Jessica, out of the love she had for Leto and his desire for a son, rebelled against the Bene Gesserit's orders and sired a male.
Again, without info-dumping, we immediately understand that this religious order engages in Eugenics, and uses sex, fanaticism, and more to control the Great Houses.
Please watch Dune. Please read Dune.
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pedroam-bang · 3 months
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Dune (2021)
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maracllea · 10 days
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A crusade. In my name. My name. That’s the future. It’s coming.
dune: part two (2024), dir. denis villeneuve / s. osborn, blasphemies at the 5th street station / @gyazo / dune (2021), dir. denis villeneuve / @resonancereverie / bilal al-shams, sacrifice / dune (2021), dir. denis villeneuve / roberto ferri, fallen angel (2011) / the creation of man, michelangelo | savages, marina / dune: part two (2024), dir. denis villeneuve / animal fear, marika hackman
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elizxbaeth · 24 days
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“He was warrior and mystic, ogre and saint, the fox and the innocent, chivalrous, ruthless, less than a god, more than a man."
Frank Herbert, Dune
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