“Dune,” a cult novel by Frank Herbert and David Lynch’s film adaptation in the 1980s, is adapt from Lynch’s original. It stars Dennis Villeneuve (“Sicario”) as the director. There are six headlines to it: Ha Wilbarden and Oscar Isaac, Rebecca Ferguson and Josh Brolin.
Villeneuve, 53, loves this book from the time he was a kid. “Frank Herbert was creating Dune in 1960s to portray the 20th century. But it was closer to what would happen in 21st century.
“It involves fusion of religion, politics, the danger from Messianic characters, and environmental concerns.
“Over the years this book seems to have become more relevant. Villeneuve expressed hope that this is not the case. “But, I believe this movie can communicate a message better than it did 40 years ago.”
The fan first, then the filmmaker. Is there anything that is more difficult than his greatest obstacle?
“The biggest thing is to master Timothy’s hair. It’s still alive! I have to personally guide,” he joked. “The biggest challenge is that this book is rich in content. The people who are familiar with this book can find the right balance.
He said that the new “sand dunes” must meet a certain benchmark to be able to view “Part 2”.
“In the end it’s a difficult time for all. Safety is what we need first. However, I encourage the audience to view it on the big-screen because it is almost as immersive and physical as possible. Movies. The big screen is a part of the language for me.”
Kristen Stewart played Princess Diana in “Spencer”. She made the crucial decision to divorce Prince Charles during a weekend spent with the royal family.
Pablo Laren (Chilean film producer), who has worked on similar scenes for “Jackie”, a widowhood first woman and Oscar nominee for best actress, stated that “She won’t become the queen”. Larrain describes “Spencer,” as a “gothic fairytale”.
Maggie Gyllenhaal is the director of “The Lost Daughter”, a film that was filmed for the first-ever time behind the camera. It’s a world premiere in Venice. Oscar-winning Olivia Colman plays the role of a Cambridge professor on vacation to Greece in this adaptation from Elena Ferrante’s novel.
It’s a portrait of an imperfect mother, similar to the opening of Almodovar’s “Parallel Mother”.