Dune (2021), Directed by Denis Villeneuve and production design by Patrice Vermette.
Case study by Margot Maritz
Climate storytelling and climate placement have become “trendy” in recent years. One of the most impactful elements of film is the visual aesthetic; images can speak a thousand more words in a single scene than dialogue ever could. The visuals of film have the power to enhance themes and emotions, strengthen ideas, and communicate additional information to audience members. Production design (sets, set dressing, props and clothing) could thus be used as an educational tool within film. By using eco-conscious and zoomorphic production design as a tool for climate storytelling and climate placement, visual storytelling within film has the potential to create environmentally messaging within a film's subtext, without disturbing the essence of a film. This eco-conscious visual storytelling could create environmental education, leading to environmental ethical debate, promoting sustainable and conservational behaviours and normalising eco-friendly perspectives.
“I must not fear, fear is the mind-killer”.
The 2021 film, Dune, includes both an environmental narrative, reflecting the current environmental crisis, and eco-consiouse visual storytelling. The choice in the film’s production design enhances the already-created environmental agenda and can be seen as the perfect example of how production design can be used as a tool for climate storytelling and climate placement.
1. Narrative and general theme of Dune:
In the year 10191, Duke Leto of the noble House Atreides and his family travel to the perilous exo-planet after being summoned by the emperor to take over the management of the arid, hostile planet Arrakis, which is the only source of Spice, the sacred hallucinogen used for interstellar travel. A conclusion can be drawn that Dune’s plot is a metaphor for the human action of fracking and drilling for fossil fuels. Paul Atreides, the duke's son finds himself caught between two worlds as the grotesque Baron Vladimir of the vicious House Harkonnen plans retaliation.
“I must not fear, fear is the mind-killer”.
The 2021 film, Dune, includes both an environmental narrative, reflecting the current environmental crisis, and eco-consiouse visual storytelling. The choice in the film’s production design enhances the already-created environmental agenda and can be seen as the perfect example of how production design can be used as a tool for climate storytelling and climate placement.
1. Narrative and general theme of Dune:
In the year 10191, Duke Leto of the noble House Atreides and his family travel to the perilous exo-planet after being summoned by the emperor to take over the management of the arid, hostile planet Arrakis, which is the only source of Spice, the sacred hallucinogen used for interstellar travel. A conclusion can be drawn that Dune’s plot is a metaphor for the human action of fracking and drilling for fossil fuels. Paul Atreides, the duke's son finds himself caught between two worlds as the grotesque Baron Vladimir of the vicious House Harkonnen plans retaliation.
The eco-conscious messaging and subtextual environmental agenda created in Dune, are predominantly emphasised through the broad-ranging production design features. The film depicts current environmental issues and comments on the anthropocentric views of the Harkonnen and their need for power, as well as, the more biocentric lifestyle of the Fremen, who lives in apparent harmony with the desert and nature. Dune also consists of characters from House Atreides depicting general ethical values and in particular, more proactive environmental ethical behaviour. Nonetheless, there is still much to learn before a complete biocentric change can be initiated.
The film expresses how anthropocentric behaviour, represented by the Harkonnen, can lead to destructive circumstances and unhealthy situations in terms of the environment and its people. The Anthropocene gets juxtaposed with the more biocentric lifestyles of the Freman, who lives in unison with nature and are connected with the natural elements. It is possible to say that Dune contributes to the promotion of sustainable mindsets by echoing the protagonist Paul Atreides' more environmentally conscious viewpoint.
The depletion of natural resources is the key theme identified within Dune is the representation of anthropocentrism versus biocentrism while commenting on how we destroy natural resources, ecology and biodiversity for our own gain. The visual storytelling within Dune has a strong commentary on the usage of water, the shortage of water and the importance of water that can be extended towards other natural resources.
2. Dune’s commentary on environmentalism and climate change through zoomorphic production design elements:
The essential production design elements within the film world of Dune are the locations (Caladan, Giedi Prime, Arakkis), set dressing (wall murals, palm trees and the bull imagery), costume design (stillsuits) and props (spice, worm, Ornithopters, hunter seeker, crysknife and desert mouse) as well as some secondary elements of the buildings and other production design components. These visual elements contributed to and strengthened the environmental agenda of the film.
2.1 Set and set dressing:
Location and planets
The visual significance of the locations represented in Dune is the contrast created between the ecology, environment and colour scheme. These three planets, Caladan (home to House Atreides), Giedi Prime (home to House Harkonnen) and Arrakis (home to Freman), all have their individual and unique aesthetics that assist in storyline development and communicate both the archetype of people living within each film world and the environmental factors that each planet represents.
The aesthetical difference between the planets and the people in control of these planets assists in educating audiences on the type of behaviour that leads to dangerous environmental consequences, such as the depletion of specific natural resources. This visual aid could, in turn, contribute to the audience’s eco-conscious engagement with the text and even support perspective changes.
Wall murals
- The planet Caladan for instance consists of mountain ranges, forests and coastal environments. This world depicts lush green locations and an abundance of water, representing a healthy ecology and a more utopian atmosphere. To assist with this more utopian feel, a blue and beige colour scheme is created for the Caladan scenes. Homeworld to House Atreides, a noble family representing change, more specifically environmental ethical change.
- The planet, Giedi Prime, consists of industrial wastelands. This harsh, destructive atmosphere created is enhanced with elements such as metal, mist and or smoke, and oil depiction. The hostile planet is further enhanced with dark lighting and black colour schemes. Homeworld to House Harkonnen, the antagonists, are known for their power, brutality and anthropocentric mindsets and behaviour. Oil companies and climate disruption is interlinked with the Harkonnens and Giedi Prime, representing the depletion of natural resources and fossil fuel extraction.
- The planet Arrakis and the primary setting of Dune consist of a desert biome. The planet’s environments are made of sand and wind. Arrakis makes use of beige colour schemes and organic materials to reinforce the austere environments. Homeworld to the Freman, a tribe that connects with the natural environment, creates sustainable solutions and practises a more biocentric lifestyle. The Freman respect and live in unison with the planet's environments and biodiversity. Together with the Freman, Arrakis inhabits spice, the desert mouse and sandworms.
The aesthetical difference between the planets and the people in control of these planets assists in educating audiences on the type of behaviour that leads to dangerous environmental consequences, such as the depletion of specific natural resources. This visual aid could, in turn, contribute to the audience’s eco-conscious engagement with the text and even support perspective changes.
Wall murals
Throughout the film, 5 Art-Deco bronze wall murals are seen inside the residence of Caladan and Arrakis. By using wall art within a film, visual communication on backstories, themes and situations could be provided to audience members. In Dune, the murals inform audiences of the characters - the mural in House Atreides depicts warriors. The history and circumstances of Arrakis - the mural of the worm. The importance of water and nature - is reinforced by the Koi fish mural. And the concept of everything is connected - the circle mural in Duke Leto’s room the mural also refers to history repeating itself.
Palm trees
Palm trees
The only greenery audiences see on Arrakis is a line of palm trees. The contrast between the colouring, size and movement of the palm trees, against the beige and sandy background, as well as, the other set dressing used throughout the film, communicate the importance of this natural element to the audience.
The importance and necessity of nature and plants get reinforced by the dialogue provided; Paul and the audience learn that one palm tree consumes as many as five men per day - twenty palm trees equals a hundred lives. Paul insists on taking out the palm trees in order to save the water and therefore save lives, but the caretaker strengthens the significance of all this by stating that the trees are sacred and need to be planted. The palm trees explicitly serve as a reminder of how valuable nature is as natural capital and connects with the sub-theme of the primary life-giving nature of water.
The importance and necessity of nature and plants get reinforced by the dialogue provided; Paul and the audience learn that one palm tree consumes as many as five men per day - twenty palm trees equals a hundred lives. Paul insists on taking out the palm trees in order to save the water and therefore save lives, but the caretaker strengthens the significance of all this by stating that the trees are sacred and need to be planted. The palm trees explicitly serve as a reminder of how valuable nature is as natural capital and connects with the sub-theme of the primary life-giving nature of water.
During the battle of the Imperial army and the Harkonnens against House Atreides, the palm trees are burned, symbolising the loss of humanity and environmental remorse of both the Imperial army and the Harkonnens. Audiences could easily make the link between Anthropocentric human activities of deforestation and the release of carbon dioxide, while at the same time, the destruction of palm trees certainly indicates severe environmental depletion.
Later, audiences witness the Freman having harvested and protecting some greenery in a lab setting. In many ways, this helps to juxtapose the Imperial army and the Harkonnens by framing the Freman as a conservationist. This imagery unlocks the audience's memory of the palm trees and our dependence on nature. This palm tree production design element will hopefully influence or nudge audiences to become more empathetic towards nature and hopefully promote more conservational behaviour.
The bull imagery
The bull imagery
During the entire film, the audience sees visual cues (specifically, the bull is shown eight times) which are presented in different forms. The bull was represented in statues, taxidermy and engravings. In the film, audiences learn that Paulus Atreides, Duke Leto’s father fought bulls for sport and died in a bullfight. This bull imagery encapsulates the theme of Dune by foregrounding and creating a link between human egoism, the Anthropocene, the environmental crisis and climate change. Furthermore, by repeating this imagery, the production design highlights the central importance of this theme. The bull can also be interpreted as allegorically inferring that humans simply end up interfering with nature, with all the negative consequences that follow. The repetition of this production design motif could help assist in the audience's realisation that human egoism and anthropocentric lifestyles could thereby lead to health- alongside environmental deterioration.
2.2 Wardrobe:
Stillsuit
2.2 Wardrobe:
Stillsuit
The stillsuit, the water recycling wardrobe of the Freman, is a critical element for survival in Arrakis. The suit reinforces the theme of Arrakis’s need for water and connects with the motif of water shortage and the importance of such an essential life-giving liquid. These wardrobe elements could hopefully, in turn, help to inspire audiences to conserve water. The production design of these stillsuits serves to address audiences on sustainable solutions.
Apart from the stillsuits, other Freman wardrobes, as well as wardrobes worn on Arrakis by Paul and other members of the House of Atreides, have an organic-like aesthetic. Loose, breathable clothing dyed in natural colours is given to the residents of Arrakis. This perfectly mimics Paul's and Lady Jessica's ability to adapt to the environment of Arrakis and could be interpreted as them becoming more biocentric, just like the Freman, as the film progresses.
Harkonnen's wardrobe
Apart from the stillsuits, other Freman wardrobes, as well as wardrobes worn on Arrakis by Paul and other members of the House of Atreides, have an organic-like aesthetic. Loose, breathable clothing dyed in natural colours is given to the residents of Arrakis. This perfectly mimics Paul's and Lady Jessica's ability to adapt to the environment of Arrakis and could be interpreted as them becoming more biocentric, just like the Freman, as the film progresses.
Harkonnen's wardrobe
Harkonnen's wardrobe is in stark contrast to other wardrobes found in the film. The never-changing black armour and bald hairstyles of the Harkonnens - which mirror and camouflage into the environments of Giedi Prime - emphasise the difference between the Atreides and Fremen, as well as their planets of Caladan and Arrakis. This contrast could imply the never-changing, anthropocentric mindset they possess and embody.
2.3 Props:
Spice
2.3 Props:
Spice
Spice is a valuable substance with holistic abilities, and health benefits and is harvested to be used for interstellar travel. Metaphorically spice is a potential goldmine and powder key precious natural resources like oil, with the Harkonnens representing big oil companies and the act of fossil fuels extraction. Spice is the crucial substance and the main spark for conflict that drives the narrative within the film. Basically, spice connects all planets and their inhabitants by allowing interstellar travel (fuel). Alternatively, Freman uses spice for its healing properties that increase their life expectancy.
The contrasting usage of spice between the Harkonnens and the Freman calls attention to the contrasting values of anthropocentrism versus biocentrism. Although House Atreides travel to Arrakis to harvest spice for the emperor, Leto tackles the task differently by adopting a more ethical (in terms of the Freman and the environment) approach. Although spice is used as a narrative tool, the production design of the spice dust particles throughout the film reinforces this contrasting use and related ethical values.
Sandworm and an elephant metaphor
The contrasting usage of spice between the Harkonnens and the Freman calls attention to the contrasting values of anthropocentrism versus biocentrism. Although House Atreides travel to Arrakis to harvest spice for the emperor, Leto tackles the task differently by adopting a more ethical (in terms of the Freman and the environment) approach. Although spice is used as a narrative tool, the production design of the spice dust particles throughout the film reinforces this contrasting use and related ethical values.
Sandworm and an elephant metaphor
To strengthen the importance of natural resources, sandworms will create a sandwave, mimicking ocean waves as they move. And because the sandworms are responsible for producing spice the idea that we need nature more than nature needs is reinforced.
The visual similarities of the sandworm and elephant trunk:
The narrative similarities of the sandworm and elephant similarities:
The visual similarities of the sandworm and elephant trunk:
- They both have a thick outer skin with a leather, wrinkly texture.
- The mouth of the worm is in a similar shape to the trunk.
- The movement of the sandworm and a trunk’s mobility is the same.
- The hairs from the worm’s mount reference the hairs within the elephant trunk.
The narrative similarities of the sandworm and elephant similarities:
- Sandworms follow vibrations, and elephants communicate with vibrations.
- Sandworms are the largest animal on Arrakis, as elephants are the largest land mammal.
- Sandworm heads and elephant trunks both act as their mouth, nose and hands.
- Trunks and sandworms have the ability to break through solid material.
- Sandworms, just like elephants, attack unwanted and non-naturally occurring objects to protect their young and their existence from danger. Elephants would not attack when they are unthreatened, similar to how the Freman respect and are non-threatening towards the sandworm.
- Sandworms are essential to keep spice production as elephants are a keystone species and play an important role in the environment.
- Elephants face the biggest threats to their survival due to ivory poaching, human-wildlife conflict and habitat destruction. This could be interpreted by the sandworm tooth being removed in order to create the Crysknife - a weapon used by the Freman. As well as the circumstances that the sandworm is in.
With the similarities established, it could be possible for audiences to draw a link between the zoomorphic production design, animals and their ecological importance. The zoomorphic production design aesthetic of the worms thus communicates environmentalism. Using the sandworm as an educational tool for species and their contribution to ecosystems, environments, biodiversity and enforcing the notion that humans are dependent on these species and nature. Furthermore, the sandworm, as seen as elephants, could contribute to the importance of the water sub-theme by emphasising the lack of water and juxtaposing the idea with elephants' water dependence.
Ornithopters
Ornithopters
The Ornithopter is the main form of transport on Arrakis. Their design emulates the movements of a dragonfly, with the wings moving in such an insectoid manner.
The zoomorphic design, similar to the design of the sandworm, communicates the importance of ecology and biodiversity to the audience.
The visual similarities and characteristics of the Ornithopter and dragonflies:
Hunter Seeker
The zoomorphic design, similar to the design of the sandworm, communicates the importance of ecology and biodiversity to the audience.
The visual similarities and characteristics of the Ornithopter and dragonflies:
- Both fly in the same motion and have the ability to hover above an area.
- The metal structure of the Ornithopter follows the same exoskeleton structure of a dragonfly.
- Dragonflies are territorial, and their habitat, as well as a breeding site, consists of streams, rivers, ponds, lakes, and wetlands, reinforcing the importance of water and reiterating the abundance of water and the more utopian environments of Caladan.
Hunter Seeker
The Hunter Seeker drones are potentially lethal devices used for an assassination. To avoid detection, the biomimicry machine is small, and its design incorporates elements of other technologies seen throughout Dune. The device resembles the Ornithopter - mimicking a species' quick-moving wings and the needle-like proboscis (mouth) of a mosquito.
This zoomorphic production design element is used as another educational tool for creating animal and environmental awareness. Audiences get exposed to different levels of biodiversity (loss) and can expand the audience's understanding of the ecological significance of different species. Even though the Hunter Seeker is represented negatively, displaying the ability to reinforce all the environmental themes (as stated above) within Dune.
Desert mouse
This zoomorphic production design element is used as another educational tool for creating animal and environmental awareness. Audiences get exposed to different levels of biodiversity (loss) and can expand the audience's understanding of the ecological significance of different species. Even though the Hunter Seeker is represented negatively, displaying the ability to reinforce all the environmental themes (as stated above) within Dune.
Desert mouse
In connection with all zoomorphic production designs already discussed within Dune, a representation of a naturally occurring species - not a machine that mimics biodiversity, is illustrated by a desert mouse. The desert mouse, Muad'Dib, could survive the harsh environments of Arrakis. Within the film world, it represents Paul’s willpower to become a more environmentally ethical protagonist.
This desert mouse thus has the ability to promote the audience’s environmental ethical thinking and eco-conscious perspectives. Together with the visuals of the small desert mouse, the depiction of water droplets on the ear also reinforces the sub-theme around the importance of water.
3. Summary:
The Dune case study suggests that the production design can be used as an effective tool for environmental (eco-) cinema practices. The production design within the film help communicate the film's environmental agenda and strengthen environmental awareness. Furthermore, a study with audience members should be conducted to determine whether the film provokes the audience’s climate change debate, eco-conscious perspectives and evoked sustainable behaviour. However, it is possible for the production design to convey additional information to the audience. Due to a Dune fan culture that sparked after the film's release and the high Box Office, an assumption can be made that Dune did indeed leave an impact on audience members.
As seen in Dune, it is possible to use creative climate placement and zoomorphic production design concepts to enhance a film's environmental agenda. Additionally this agenda gets enhanced by some production design elements within the film could suggesting that Dune is progressing into the solarpunk genre.
This desert mouse thus has the ability to promote the audience’s environmental ethical thinking and eco-conscious perspectives. Together with the visuals of the small desert mouse, the depiction of water droplets on the ear also reinforces the sub-theme around the importance of water.
3. Summary:
The Dune case study suggests that the production design can be used as an effective tool for environmental (eco-) cinema practices. The production design within the film help communicate the film's environmental agenda and strengthen environmental awareness. Furthermore, a study with audience members should be conducted to determine whether the film provokes the audience’s climate change debate, eco-conscious perspectives and evoked sustainable behaviour. However, it is possible for the production design to convey additional information to the audience. Due to a Dune fan culture that sparked after the film's release and the high Box Office, an assumption can be made that Dune did indeed leave an impact on audience members.
As seen in Dune, it is possible to use creative climate placement and zoomorphic production design concepts to enhance a film's environmental agenda. Additionally this agenda gets enhanced by some production design elements within the film could suggesting that Dune is progressing into the solarpunk genre.
Dune (2021a) Directed by D. Villeneuve [DVD] Burbank, CA: Legendary Pictures.
Dune (2021b) Dune Movie Official Website, Dune Movie | Official Website. Available at: https://www.dunemovie.net/ (Accessed: 3 April 2022).
Dune (2021b) Dune Movie Official Website, Dune Movie | Official Website. Available at: https://www.dunemovie.net/ (Accessed: 3 April 2022).
All imagery used, except the writer's personal dragonfly and the elephant trunk images, are taken from the Dune film and is the property of Legendary Entertainment.