‘Dune’ is just a great movie on a technical level. Or at least that’s what the BAFTAs and other awards think

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Warner can be more than satisfied with the result of ‘Dune’. It was a more than risky bet, adapting a complex book with many edges where filmmakers like David Lynch stumbled. However, the box office has responded, with more than 400 million dollars raised against a budget of 165, which guarantees the filming of the second part to conclude the story that Villeneuve left halfway through, and probably also the production of some television spin-offs for HBO Max.

However, the awards season is not responding in such a unanimous or satisfactory way: the BAFTAs delivered yesterday carefully dodged the main awards (it was nominated, among others, for Best Picture, Best Adapted Screenplay and Best Casting) and had to make do with a few very notable technicians: Best Cinematography, Best Soundtrack, Best Production Design and Best Special Effects. , with which he started the night giving the impression that he was going to sweep the ceremony.

'Dune' has its own 'Silmarillion', it hasn't been reissued for thirty years and costs 1,000 euros per volume

A comparable result, but even more discreet, was obtained at the Golden Globes: it was nominated for Best Soundtrack, Best Film and Best Director, and only received the first. Her Oscar nominations have been announced (some as notable as Best Picture, Best Editing or Best Adapted Screenplay), but everything indicates that ‘The power of the dog’ will once again snatch those of a more artistic orientationand Villeneuve will have to make do with the technicians.

Science fiction and awards

Genres in general and science fiction in particular have never been a saint of devotion for award ceremonies, which have to maintain an image of artistic neatness that, for some reason, does not fit with either horror or superheroes. nor with planetary exploration. But if anyone could change that trend, it was Denis Villeneuve, capable of endowing openly genre films with a halo of creative intent.

But not even his best film, ‘The Arrival’, was able to achieve it: it was nominated for both the BAFTAs and the Oscars for categories such as Best Film, Best Direction and Best Screenplay, but again it only collected the technical ones. A situation that may not be to the director’s taste, but one that fails to extricate himself due to industry bias against genre film (except with the western, of course, although that’s another story).

In the end, the awards are only indicative of a very specific current of opinion of a group of people and very specific interests (the latest scandals at the Golden Globes are the best proof), but their media and commercial impact is indisputable. At the moment we have the opinion of the public, critics (a very satisfying 74 in Metascore) and prizes. But it seems that, within the fantastic, we are never going to get the three points of view to coincide.

Warner can be more than satisfied with the result of ‘Dune’. It was a more than risky bet, adapting a…

Warner can be more than satisfied with the result of ‘Dune’. It was a more than risky bet, adapting a…

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