Dune: Part 2 (2023), Directed by Denis Villeneuve and Production Design by Partice Vermette. Case study by Margot Maritz
Image: Dune: Part 2
“Power over spice is power over all”
“Power over spice is power over all”
In recent years Climate storytelling has become more popular. With the need for sustainable themes increasing. The Dune universe still remains an influential example, since the films include climate themes, strengthened within both dialogue and visuals.
“The most impactful element of the film is the visual aesthetic; images can speak a thousand more words in a single scene than dialogue ever could. By using eco-conscious and zoomorphic* production design, as well as biomimicry* concepts, as a tool for climate storytelling and climate placement, visual storytelling within the film has the potential to create environmental messaging within a film's subtext, without disturbing the essence of a film” - Dune: Part 1 case study.
1. Dune: Part 1 Recap
The film explores themes of environmental exploitation and sustainability through its narrative and the aesthetical difference in production design. Set in the year 10191, the story follows Duke Leto of House Atreides, who is tasked with managing Arrakis, a desert planet and the sole source of the valuable substance Spice. The plot can be interpreted as a metaphor for the extraction of fossil fuels, highlighting human greed and its environmental impact.
The film contrasts the destructive, power-driven approach of the Harkonnen with the biocentric, harmonious lifestyle of the Fremen, who respect and live in balance with their harsh desert environment.
*Zoomorphism refers to the attribution of animal characteristics or qualities to something that is not an animal.
*Biomimicry is the practice of designing products, systems, and processes that are inspired by the structures, functions, and strategies found in nature.
“The most impactful element of the film is the visual aesthetic; images can speak a thousand more words in a single scene than dialogue ever could. By using eco-conscious and zoomorphic* production design, as well as biomimicry* concepts, as a tool for climate storytelling and climate placement, visual storytelling within the film has the potential to create environmental messaging within a film's subtext, without disturbing the essence of a film” - Dune: Part 1 case study.
1. Dune: Part 1 Recap
The film explores themes of environmental exploitation and sustainability through its narrative and the aesthetical difference in production design. Set in the year 10191, the story follows Duke Leto of House Atreides, who is tasked with managing Arrakis, a desert planet and the sole source of the valuable substance Spice. The plot can be interpreted as a metaphor for the extraction of fossil fuels, highlighting human greed and its environmental impact.
The film contrasts the destructive, power-driven approach of the Harkonnen with the biocentric, harmonious lifestyle of the Fremen, who respect and live in balance with their harsh desert environment.
*Zoomorphism refers to the attribution of animal characteristics or qualities to something that is not an animal.
*Biomimicry is the practice of designing products, systems, and processes that are inspired by the structures, functions, and strategies found in nature.
Image 1.1: Fremen and the stillsuits
The depletion of natural resources is the key theme identified within Dune: Part 1 with a strong sub-theme of the importance of water. Here's a summary of key elements from the first film that are foundational and continue to have significance in Part 2:
2. Paul Atreides learns the Fremen way
Dune: Part 2 continues the epic story of Paul Atreides, who joins forces with the Fremen on the desert planet Arrakis. Paul deepens his understanding of the harsh desert environment and embraces his destiny as a potential messianic figure, Muad’Dib. With powerful themes of destiny, rebellion, and environmental survival, Dune: Part 2 expands on the political intrigue, warfare, and the rich ecological lore of the universe, setting the stage for a climactic struggle.
3. Theme
In Dune: Part 2, the contrast between the Fremen and the “Westernised” forces of the Harkonnens highlights a deeper commentary on Indigenous cultures versus exploitative, anthropocentric ideologies. The Fremen embody a biocentric worldview, living in harmony with the harsh desert environment, seeing themselves as part of the ecosystem rather than its conquerors. They draw power from the desert, learning to live with nature rather than against it, emphasising sustainable survival.
The Harkonnens represent colonial exploitation, draining the planet's resources for profit. They use the Atreides' biomimic technology, using them - not to coexist with nature but to manipulate and exploit it further for their own greedy agenda. Ultimately, the narrative suggests a lesson in humility: true power lies in understanding and respecting the environment, as the Fremen do, rather than dominating it.
Dune: Part 2 continues the epic story of Paul Atreides, who joins forces with the Fremen on the desert planet Arrakis. Paul deepens his understanding of the harsh desert environment and embraces his destiny as a potential messianic figure, Muad’Dib. With powerful themes of destiny, rebellion, and environmental survival, Dune: Part 2 expands on the political intrigue, warfare, and the rich ecological lore of the universe, setting the stage for a climactic struggle.
3. Theme
In Dune: Part 2, the contrast between the Fremen and the “Westernised” forces of the Harkonnens highlights a deeper commentary on Indigenous cultures versus exploitative, anthropocentric ideologies. The Fremen embody a biocentric worldview, living in harmony with the harsh desert environment, seeing themselves as part of the ecosystem rather than its conquerors. They draw power from the desert, learning to live with nature rather than against it, emphasising sustainable survival.
The Harkonnens represent colonial exploitation, draining the planet's resources for profit. They use the Atreides' biomimic technology, using them - not to coexist with nature but to manipulate and exploit it further for their own greedy agenda. Ultimately, the narrative suggests a lesson in humility: true power lies in understanding and respecting the environment, as the Fremen do, rather than dominating it.
Image 3.1: Burning of Duke Leto’s portrait
The film starts with a strong image of Duke Leto’s portrait burning after the attack on House Atreides. This sets a strong metaphor for biocentrism being made silent by today’s anthropocentric world. This sets the tone of the entire film…
4. Sub-themes
To reiterate the themes established within Dune: Part 1 (Depletion of nature and the sub-theme of the importance of water) is enhanced, while Part 2 identifies a secondary sub-theme of soil de-gration. This mirrors the environmental challenges of our world today, including unsustainable agriculture, fracking, and rapid deforestation driven by modern infrastructure. This is symbolised by the relentless drilling for spice—an allegory for fossil fuel extraction.
4.1 Soil degradation and environmental health
4. Sub-themes
To reiterate the themes established within Dune: Part 1 (Depletion of nature and the sub-theme of the importance of water) is enhanced, while Part 2 identifies a secondary sub-theme of soil de-gration. This mirrors the environmental challenges of our world today, including unsustainable agriculture, fracking, and rapid deforestation driven by modern infrastructure. This is symbolised by the relentless drilling for spice—an allegory for fossil fuel extraction.
4.1 Soil degradation and environmental health
Image 4.1: Sand Walk
Paul and his mother embark on a transformative journey with the Fremen, learning the importance of adapting to the desert's rhythms. “You sandwalk like a drunk lizard” - Chani, Dune: Part 2 (2023). The "sand walk" is a vital practice, not just to remain undetected by sandworms but also to minimise their environmental footprint—showing deep respect for their surroundings. This concept is a reminder for us in the real world.
For example, at a recent Taylor Swift concert in Scotland, the collective dancing of fans was powerful enough to register as an earthquake on the Richter scale. This incident serves as a stark example of how human actions, even joyful ones, can have unintended environmental impacts.
In Dune, the Fremen’s conscious way of living invites us to reflect on our own actions and their consequences. The story offers a powerful message: to tread lightly and live with an eco-conscious mindset, as every step matters.
For example, at a recent Taylor Swift concert in Scotland, the collective dancing of fans was powerful enough to register as an earthquake on the Richter scale. This incident serves as a stark example of how human actions, even joyful ones, can have unintended environmental impacts.
In Dune, the Fremen’s conscious way of living invites us to reflect on our own actions and their consequences. The story offers a powerful message: to tread lightly and live with an eco-conscious mindset, as every step matters.
Image 4.2: Emperors Home
The distinct aesthetics of each planet in Dune amplify the film’s themes. Something that stood out within this Part is the Emperor’s lush, green world symbolising the elite’s detachment from environmental issues, reflecting a mindset of “Climate change doesn’t affect me, so it’s not my problem.” This contrast underscores humanity’s egocentrism and indifference, highlighting the unsustainable exploitation of the natural world.
4.2 Water
4.2 Water
Image 4.3: Adding water back into the sacred river
The importance of water continues from Dune Part 1 with numerous dialogues encouraging water conservation. “never give your water away, not even for the dead”, Stilgar, Dune: Part 2 (2023).
Image 4.4: Draining all water from the dead
Within Part 2 audiences see the Fremen's deep reverence and conservation of water. This is illustrated when Stilgar instructs the Bene Gesserit to preserve her body fluids instead of vomiting. The Fremen’s practice of extracting water from dead enemies and the drying ritual. And through the 38 million dekalitre sacred river, where the Fremen return the water to the desert
Image 4.5: Sacred water
In stark contrast, the Harkonnens’ body water is full of chemicals, symbolising the pollution and environmental destruction linked to greed and exploitation. Their eventual destruction of this sacred river, later on in the film, highlights their disregard for nature and its delicate balance.
4.3 Biodiversity Loss and Depletion of Ecosystem Health
4.3 Biodiversity Loss and Depletion of Ecosystem Health
Image 4.6: Drawing out the Harkonnens “tainted” water
Throughout Dune preservation, conservation and biodiversity health are central. In connection with the Fremen taking water from the Harkonnens, as well as the ritual of giving their dead to the sandworms exemplifies a holistic, sustainable approach, using every aspect of what nature provides. This reflects a mindset akin to responsible hunting practices, where every part of an animal is utilised, rather than leaving it as a mere trophy. This way, both the local community and the ecosystem benefit, aligning with the Fremen’s ethos of respecting the natural cycle and minimising waste.
Image 4.7: Desert Mouse/Muad'Dib
The anthropocentric Harkonnens call the Fremen rats, this reflects a double meaning; for the Harkonnens the Fremen stand in their way of depleting Arrakis for their own gain, just as rats or pests invade a space causing issues. However, this could also refer to the biocentrism of the Fremen as rats, referring to the desert mouse/Muad'Dib, which is the only mammal that can survive on Arrakis. Enhancing the notion humans need to live with nature and develop more biocentric perspectives and environmentally ethical behaviours.
4.3.1 Sandworm - Shai-Hulud
4.3.1 Sandworm - Shai-Hulud
Image 4.8: Elephant metaphor
In Dune: Part 1 and 2, the sandworms share similarities with elephant trunks*, particularly in their thick, wrinkled skin, their function and their ability to break through solid material. Both creatures play a crucial role in their ecosystems, with the sandworm’s importance to spice production echoing the elephant’s keystone role in nature. Interestingly, Dune: part 2 explains that the sandworm itself is an invasive species, only existing and producing spice because of the state of Arakkis, disrupting the ecosystem in its own right.
*Elephant metaphor can be seen in Dune: Part 1 case study.
*Elephant metaphor can be seen in Dune: Part 1 case study.
Image 4.9: Sandworm/Shai-Hulud
4.3.1.1 The water of life
Image 4.10: Blood of Shai-Hulud
The "Water of Life" is extracted by drowning a baby sandworm, killing it in the process. This ritual, while integral to Fremen's spirituality, mirrors poaching, as it exploits the planet’s natural resources. Lady Jessica and Paul drink this blue substance to gain prophetic visions, using the power for their eco-cause, but it raises ethical questions about the cost of such power.
4.3.2 Foreshadowing
4.3.2 Foreshadowing
Image 4.11: Paul addressing the Fremen Tribe
“He will bring a green paradise”, Stilgar Dune: Part 2 (2023), ensures that the Lisan Al-Gaib will return Arrakis to its original state, regressing the environment, nature and biodiversity. This will hopefully be the theme of Dune Part 3.
5. Visuals Enhancing Climate Storytelling
The themes and particularly the sub-theme of the importance of water and biodiversity are reinforced by the production design throughout the film. It is important to note that all visuals discussed within this section are examples of zoomorphism and/or biomimicry; representing water and moisture-dependent biodiversity and natural elements. These elements enhance Dune’s narratives, technologies and eco-communication.
5.1 Zoomorphic Costume Design
5.1.1 Harkonnen scuba gear
5. Visuals Enhancing Climate Storytelling
The themes and particularly the sub-theme of the importance of water and biodiversity are reinforced by the production design throughout the film. It is important to note that all visuals discussed within this section are examples of zoomorphism and/or biomimicry; representing water and moisture-dependent biodiversity and natural elements. These elements enhance Dune’s narratives, technologies and eco-communication.
5.1 Zoomorphic Costume Design
5.1.1 Harkonnen scuba gear
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Image 5.1: Harkonnens scuba costume design
The most notable is Harkonnen wearing “scuba suits” to be able to survive on Arrakis – referencing a desert that was once an ocean. When on Arrakis they resemble fish swimming.
5.1.2 Chameleon Mask
5.1.2 Chameleon Mask
Image 5.2: Chameleon Mask
An example of Dune using Zoomorphic representation to drive the sub-theme is a character depicted with a chameleon mask. Chameleons are water-dependent reptiles with hooded heads that help them collect water in the form of dew (Cook, 2022).
5.1.3 Hammerkop Shark Headpiece
5.1.3 Hammerkop Shark Headpiece
Image 5.3: Hammerkop Shark headpiece
During a fight on Feyd-Rautha's birthday, Hammerkop shark headpieces are worn by the Harkonnen guards. Like sharks circling prey, the guards surrounding the arena embody a menacing, predatory presence. Reinforcing the aquatic visuals and sub-themes of the film.
5.2 Mode of transport
5.2 Mode of transport
Image 5.4: Ornithopters
In the case study, Dune: Part 1, the ornithopters are inspired by dragonflies, hovering above water with remarkable agility, while the sandworm, reflecting the appearance and function of an elephant truck, emerges as a sustainable mode of transport for the Fremen within Part 2. This analogy captures the creature’s dual role, not only as a powerful force in the desert but also as a symbolic response to the harvester’s destructive impact on ecosystems.
Image 5.5: Paul Riding the Sandworm
These impactful elements continue to resonate in Dune: Part 2, further emphasised by the new aquatic zoomorphism and biomimicry Harkonnen Spice Harvester.
5.2.1 Harkonnen Spice Harvester
5.2.1 Harkonnen Spice Harvester
Image 5.6: Harkonnen Spice Harvester
The Harkonnens' strategy to gain the upper hand relies on undermining the Fremen’s progress, aiming to crush their spirit by devastating what they hold sacred. Their aircraft (the ornithopters taken after the battle of House Atreides) and the Squid resembling harvesters, embody a deep harmony with nature, standing in stark contrast to the Harkonnen's exploitation. This highlights a recurring theme: the Anthropocene desire to control and exploit nature, twisting biomimicry from a tool of innovation into an instrument of greed.
5.3 Solarpunk and Biomimic solutions
Solarpunk is “A movement built on visual art and speculative fiction that hopes to build a more sustainable world” (Steinkopf-Frank, 2021). Read more about Solarpunk
5.3.1 Wind traps
5.3 Solarpunk and Biomimic solutions
Solarpunk is “A movement built on visual art and speculative fiction that hopes to build a more sustainable world” (Steinkopf-Frank, 2021). Read more about Solarpunk
5.3.1 Wind traps
Image 5.7: Wind traps
The Fremen use wind traps to aid in capturing air moisture, providing them with water. These traps resemble Praying Mantis, an insect known for capturing air moisture; “the way its limbs and posture collect dew has inspired some biomimetic designs aimed at passive water collection”, Mateusz (2024).
5.3.2 Snorkel
5.3.2 Snorkel
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Image 5.8: Sand snorkels
The concept of "sand snorkels" as a form of breathing adaptation for the Fremen takes inspiration from the snorkels used to breathe underwater. Biomimetic and solar punk-inspired innovations deepen the narrative by showing how the Fremen skillfully harness the natural environment as an integral part of their survival strategy. Adapting to their harsh surroundings, they use advanced, nature-inspired solutions to live symbiotically with the desert ecosystem.
5.3.3 Baron Vladimir's medical equipment
In connection to the exploitation of nature for the Harkonons' own gain, Baron Vladimir’s medical equipment can be viewed as jellyfish, floating and pulsating forms mirroring the eerie, fluid mechanics of the Baron's life-support apparatus. Connecting with the sub-theme of exploiting nature, similar to the squid-like appearance of the harvesters.
5.3.3 Baron Vladimir's medical equipment
In connection to the exploitation of nature for the Harkonons' own gain, Baron Vladimir’s medical equipment can be viewed as jellyfish, floating and pulsating forms mirroring the eerie, fluid mechanics of the Baron's life-support apparatus. Connecting with the sub-theme of exploiting nature, similar to the squid-like appearance of the harvesters.
Image 5.9: Medical “Jellyfish” equipment
Audiences can simultaneously debate that these elements reflect how humans rely on the environment and nature to survive, in turn connecting back to how we need to adopt biocentric behaviours and perspectives.
5.3.4 Turtle Shell
5.3.4 Turtle Shell
Image 5.10: Turtle Shell
The Bene Gesserit, Lady Jessica gets transported within an object, mimicking a turtle shell. Just like a pearl is kept safe within an oyster shell and how a turtle uses its shell as a shield, the Fremen protect the new Reverend Mother against the harsh nature of the migration.
5.4 Additional visuals
5.4.1 Ocean Meets the Desert
5.4 Additional visuals
5.4.1 Ocean Meets the Desert
Image 5.11: Ocean meets the desert
Shot on the Skeleton Coast of Namibia, the desert and coastline acted as the perfect background in Dune: Part 2. This visual amplifies the film's themes of survival, desolation, and the harsh beauty of an unforgiving anthropocentric world. This unique stretch of Namibia, where the endless desert meets the turbulent Atlantic, reflects the brutal duality central to the narrative: the struggle between life and death, scarcity and abundance, and anthropocene and biocene with civilisation's tenuous grip on nature.
5.4.2 Oil bath
5.4.2 Oil bath
Image 5.12: Oil bath
Similar to Dune: Part 1, Part 2 showcases Baron Vladimir bathing in oil, serving as a powerful metaphor for greed and exploitation. The oil representing fossil fuels, symbolises his insatiable lust for power and mirrors the Harkonnen's ruthless extraction of Arrakis’ spice.
6. Conclusion
6. Conclusion
Image 6.1: Paul and Chani
In conclusion, Dune: Part 2 expands on the themes of environmental exploitation and sustainability introduced in Part 1. Just as societies have plundered Earth’s resources for profit, the Harkonnens indulge in the same mindsets and actions. Highlighting the destructive dependence, reinforcing the themes of unsustainable greed that drive both the film's characters and our own world’s history, emphasising the importance of water and biodiversity conservation and soil health.
Dune is a perfect example of climate storytelling*, seamlessly weaving environmental themes into its narrative. Through its visual storytelling, Dune: Part 2 further reinforces the significance of these important themes and sub-themes, strengthening the narrative’s environmental message, and urging audiences to reflect on the need for sustainable practices and respect for the planet.
6.1 Looking Ahead: Dune Part 3 and Dune: Prophecy
The upcoming Dune: Part 3 will continue the saga, delving deeper into the ongoing war between the Houses and the shifting political, environmental and cultural dynamics. The film is expected to further explore the consequences of environmental degradation, with the Fremen’s fight for survival taking on even greater urgency.
Additionally, Dune: Prophecy, a prequel series, will focus on the enigmatic Bene Gesserit, shedding light on their origins and their role in shaping the universe’s political and religious landscapes. The Bene Gesserit’s manipulations will reveal the long-standing tensions between the Great Houses, their use of power, and the climate struggles that have shaped the course of history.
Together, these narratives promise to expand on the intricate web of politics, culture, and the environment, deepening the exploration of war, power, and survival in a climate-ravaged world.
*Worth mentioning: Dune: Part 2 was nominated at the EMA 2024 Awards, reflecting the film's recognition for sustainable filmmaking practices. This nomination suggests that the production adhered to environmentally conscious practices throughout its development.
Dune is a perfect example of climate storytelling*, seamlessly weaving environmental themes into its narrative. Through its visual storytelling, Dune: Part 2 further reinforces the significance of these important themes and sub-themes, strengthening the narrative’s environmental message, and urging audiences to reflect on the need for sustainable practices and respect for the planet.
6.1 Looking Ahead: Dune Part 3 and Dune: Prophecy
The upcoming Dune: Part 3 will continue the saga, delving deeper into the ongoing war between the Houses and the shifting political, environmental and cultural dynamics. The film is expected to further explore the consequences of environmental degradation, with the Fremen’s fight for survival taking on even greater urgency.
Additionally, Dune: Prophecy, a prequel series, will focus on the enigmatic Bene Gesserit, shedding light on their origins and their role in shaping the universe’s political and religious landscapes. The Bene Gesserit’s manipulations will reveal the long-standing tensions between the Great Houses, their use of power, and the climate struggles that have shaped the course of history.
Together, these narratives promise to expand on the intricate web of politics, culture, and the environment, deepening the exploration of war, power, and survival in a climate-ravaged world.
*Worth mentioning: Dune: Part 2 was nominated at the EMA 2024 Awards, reflecting the film's recognition for sustainable filmmaking practices. This nomination suggests that the production adhered to environmentally conscious practices throughout its development.
Cook, M. (2022) The adaptations of chameleons, Sciencing. Available at: https://www.sciencing.com/adaptations-chameleons-8771909/ (Accessed: 14 June 2024).
Dune (2023) Directed by D. Villeneuve [DVD] Burbank, CA: Legendary Pictures.
Maritz, M. (2022) Dune: Part 1 case-study, GREEN-Humanity. Available at: http://www.green-humanity.com/dune-case-study.html (Accessed: 12 June 2024).
Mateusz (2024) Do praying mantis drink water?, MantisTopia.com. Available at: https://mantistopia.com/do-praying-mantis-drink-water/ (Accessed: 12 June 2024).
Vermette, P. Patrice Vermette Instagram account, Instagram. Available at: https://www.instagram.com/patrice_vermette/ (Accessed: 12 July 2024).
Dune (2023) Directed by D. Villeneuve [DVD] Burbank, CA: Legendary Pictures.
Maritz, M. (2022) Dune: Part 1 case-study, GREEN-Humanity. Available at: http://www.green-humanity.com/dune-case-study.html (Accessed: 12 June 2024).
Mateusz (2024) Do praying mantis drink water?, MantisTopia.com. Available at: https://mantistopia.com/do-praying-mantis-drink-water/ (Accessed: 12 June 2024).
Vermette, P. Patrice Vermette Instagram account, Instagram. Available at: https://www.instagram.com/patrice_vermette/ (Accessed: 12 July 2024).
All imagery used, except the writer's personal the elephant trunk images, are taken from the Dune film and is the property of Legendary Entertainment.