![]() This is an introspective, interiorized Dune: its fictional setting and the mystical players within are constantly subordinated to the perspectives of the characters at its core. They are small players in a vast universe, their insignificance underscored by low, wide camera angles that emphasize the space around individual figures. While the story still contains much that is futuristic, the characters and their conflicts are recognizably human. It introduces House Atreides in a distinctly terrestrial setting, as when the Atreides patriarch discusses legacy with his son among the weather-beaten graves of an ancient-looking cemetery. The new movie, by contrast, is extremely grounded from the outset. RELATED: Dune Will Reportedly Be Available To Stream On HBO Max Again Very Soon Yet the result, while not subtle, is undeniably effective: the visuals reinforce that this is a somewhat-exaggerated melodrama, akin to the melodramas that comprise human history. ![]() The Atreides wear white, and the Harkonnen wear red the miniseries breaks no new ground in its coding of righteousness and scheming. ![]() Interior settings and on-planet exteriors are realized in lurid colors, mixing sleek, ultra-modernized design elements (the perennial code for technology-fueled futurism) with lavish costumes and elaborate sets (the perennial code for political intrigue among a ruling class). It conveys this at every possible opportunity, through various spaceships and star-strewn B-roll. The miniseries initially presents Dune as a story set In Spaceā¢. The first (and most obvious) difference in the two adaptations involves scene and setting: how the world of Dune is interpreted and rendered visually.
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