‘Dune: Part Two’ – A Cinematic Odyssey Through Geopolitics and Identity

By Nishka Dalmia

In its opening moments, Dune: Part Two emerges as a cinematic tour de force, a testament to Denis Villeneuve's directorial prowess. With deft skill, Villeneuve weaves an intricate narrative that not only enthrals audiences but also grapples with the profound complexities of geopolitics and identity. 

At its heart, Dune: Part Two serves as a potent critique of white saviourism and imperialistic ambitions.  The film lays bare the perilous consequences of messianic fervour and hegemonic aspirations. Against the stark backdrop of Arrakis, a desert world pregnant with allegorical weight, the story unfurls as a cautionary parable of power, exploitation, and resistance. The coveted spice becomes a metaphorical lodestar for geopolitical machinations and rapacious greed. Through the rival Atreides and Harkonnen Houses, thinly veiled proxies for real-world superpowers (the USA and Russia), the film delves into the treacherous terrain of foreign intervention and the subjugation of indigenous cultures. As proxy conflicts erupt on alien soil, the indigenous Fremens find themselves ensnared in a web of power politics, their sovereignty trampled beneath the boots of external forces. Chani, a Fremen and paramour to Paul Atreides, emerges as a compelling voice of dissent, challenging the entrenched cycle of oppression that plagues her people. Her piercing question, "Who will our next oppressors be?" echoes throughout the narrative, compelling audiences to confront uncomfortable truths about the nature of power dynamics and domination. In a world rented asunder by ideological strife and geopolitical manoeuvring, the quest for identity and self-determination becomes a focal point, echoing the tumultuous realities of our age. 

As audiences grapple with the allegorical resonance of Arrakis vis-à-vis the Middle East, they are confronted with the enduring spectre of imperialism and colonialism. In a global landscape marred by existential crises of identity and sovereignty, Dune: Part Two emerges as a timely and provocative meditation on the intricate interplay of power and resistance.  The film confronts a fundamental question that resonates far beyond the confines of the screen: does it grant the Fremen sufficient agency to assert their sovereignty? In a world where sovereignty encompasses not only territorial control but also self-determination and identity, the film finds itself at a crossroads, mirroring the pressing realities of contemporary geopolitical struggles. 

Indeed, current events shed new light on the film: the spectre of Palestine looms large over Dune, casting a haunting shadow that underscores the ongoing battles for identity and sovereignty. As the International Court of Justice deliberates over the fate of Gaza and the quest for a free, sovereign Palestine, the parallels between Arrakis and the Middle East become increasingly poignant. While Arrakis grapples with control over resources, the heart of the conflict in Palestine lies in questions of identity and agency. Philosopher Hannah Arendt's assertion that embracing one's persecuted identity is crucial to resisting oppression resonates deeply in this context. Yet, Dune: Part Two seems to sidestep the complexities of identity and religion in its portrayal of the Fremen. Religion is reduced to a mere pawn for political manipulation, stripped of its cultural and philosophical significance. This reductionism is evident in the portrayal of religious beliefs as irrational and even comical, exacerbating the film's failure to engage with the nuanced interplay between religion, culture, and resistance. Javier Bardem's portrayal of Stilgar, the revered leader of the Fremen, epitomizes this reductionism, reducing him to a caricature of blind devotion to Paul Atreides. Despite Chani's critical perspective on the manipulation of religious fervour by imperialist powers, the film succumbs to a bleak conclusion: the Fremen are transformed into a willing army, poised to carry out a genocidal "holy war" at the behest of their supposed saviour. This portrayal not only diminishes the significance of faith in anti-colonial struggles but also perpetuates harmful stereotypes about religious fervour being co-opted for violent ends. In contrast, Frank Herbert's novels understand the multifaceted role of religion in resistance movements, imbuing their world-building with Islamic references to underscore its enduring influence. However, the films fail to capture this complexity, reducing the Fremen's faith to a mere plot device manipulated by shadowy forces. 

As the narrative unfolds, viewers are confronted with a distorted portrayal of jihad, the central tenet of resistance in Herbert's novels. In Dune: Part Two, jihad is transformed into a convenient tool for terrorism, further underscoring the film's failure to grapple with the nuances of identity, agency, and resistance. As the credits roll, viewers are left grappling with a myriad of questions, chief among them being the film's approach to themes of imperialism, identity, and cultural appropriation. While the narrative critiques white saviourism and Western civilization's exploitative nature, it also raises troubling concerns about its portrayal of the Fremen and its treatment of Arabic culture and Islam. Ali Karjoo-Ravary's observation about Herbert's nuanced understanding of jihad holds relevance to the film, albeit with caveats. While Dune: Part Two attempts to navigate the complexities of messianic impulses and apocalyptic violence, its effectiveness is undermined by its detachment from real-world events. The framing of Palestine in Western media as a belligerent threat and the trope of the dangerous Arab perpetuate harmful stereotypes, diluting the film's intended critique of imperialism. 

In its fervent critique of white saviourism, Dune: Part Two inadvertently appropriates the experiences of the Fremen, relegating them to the role of the "other." Haris A. Durrani aptly points out how the film, like its protagonist Paul Atreides, colonizes and appropriates the narratives of Muslim and MENA peoples, further underscoring its problematic portrayal of identity and agency. The film's confused position on Arabs raises significant questions about its appreciation versus appropriation of Arabic culture and Islam. Despite drawing inspiration from Bedouin culture, the Fremen are depicted as a generic group of Black and Brown "other," erasing the cultural nuances and diversity of the communities they are meant to represent. Khaldoun Khelil's critique of the film's lack of Arab representation underscores the broader issues of cultural erasure and tokenism that plague Hollywood. 

Yet, amidst these critiques lies the undeniable power of Dune: Part Two's commitment to critiquing empire and exposing the violent underpinnings of Western civilization. Through the lens of Arrakis, viewers are confronted with terrifying visions of civilizational anxiety and the dehumanization of indigenous peoples. The film's timely subversion of the prevailing narrative of conquest in the Middle East challenges viewers to confront uncomfortable truths about power, privilege, and oppression. As the ongoing loss of Palestinian lives looms large in the backdrop of the film's release, it becomes increasingly difficult to engage with its themes without reflecting on its implications for the real world. Inextricably linked to Arabs and Arabic culture, Dune: Part Two serves as a sobering reminder of the interconnectedness of art and reality. If there can be no Dune without the Middle East, then perhaps we cannot afford to separate it from the ongoing struggles for justice and liberation unfolding in the region.  Despite its flaws and complexities, Dune: Part Two invites viewers to reckon with the legacy of imperialism and the enduring quest for sovereignty and self-determination. As we grapple with its themes and implications, we are reminded of the profound potential of cinema to provoke introspection, dialogue, and ultimately, action. 

References:

Perspective | the novel ‘dune’ had deep Islamic influences. ... Available at: https://www.washingtonpost.com/outlook/2021/10/28/dune-muslim-influences-erased/ (Accessed: 22 March 2024). 

Karjoo-Ravary, A. (2020) In Dune, Paul Atreides led a Jihad, not a crusade, Al Jazeera. Available at: https://www.aljazeera.com/opinions/2020/10/11/paul-atreides-led-a-jihad-not-a-crusade-heres-why-that-matters (Accessed: 22 March 2024). 

Sznaider, N. (2015) Hannah Arendt: Jew and cosmopolitan, Socio. La nouvelle revue des sciences sociales. Available at: https://journals.openedition.org/socio/1359 (Accessed: 22 March 2024). 

Ujayli, L. (2023) Erasing Arabs from ‘Dune’, Inkstick. Available at: https://inkstickmedia.com/erasing-arabs-from-dune/ (Accessed: 22 March 2024). 

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