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Dune, Bladerunner 2049 And Arrival By Denis Villeneuve

1938 Words8 Pages

Andy Guthrie
Ms. Spencer
CL 240
June 6th, 2023
A cinematic symphony by Denis Villeneuve
Very few directors are so aware and confident in the direction or view of their films that you can feel certain as a viewer every aspect is moving towards a common goal. Denis Villeneuve is one of these few. In his pieces Dune, Bladerunner 2049, and Arrival, we are able to witness his masterful collection of filmmaking techniques to move us toward his one goal. To create these cinematic masterpieces Denis Villeneuve employs a unique dialogue of monotone color palettes, creative editing, and cinematic sound, to make the audience ponder the question of what it truly means to be human. Dune, an epic placed roughly 20,000 years in the future. Denis Villeneuve …show more content…

As he masterfully creates alien and truly remarkable visuals, he conducts an orchestra of rememberable yet un-hummable sound. All these shadows under his single belief that the soundscape has the power to push or suck the out audience out of a film. He does this with the use of narrative sound; this sound is capable of relaying a message equal to or greater than the picture. Similar to color, Villeneuve does this by labeling specific areas, characters, and most importantly, themes, with sounds that can have the power to subconsciously sway the audience to feel deep emotions and drive them further toward his leading question. This appears in Dune in the form of labeling each house or group of people with a specific sound. For instance, House Harkonen, a grinding industrial noise, accordingly they have a brutal and totalitarian society. Bene Gesserit, a whispering chant, representing their role in the background manipulating and controlling people to their will. House Atreides’ traditional or warm tones provides a sense of home, safety, and familiarity, thus causing the audiences to subconsciously align themselves with them. Fermen, a windy sand and flute sound in combination with high-pitched singing that closely aligns with the culture and practices of the Fremen in which they blend in with the natural sounds and rhythm of the desert. As a result, these sounds evoke an action unknown to the audience that compels them to align with a faction or cause through, “emotionally involving him or her in the story through aural stimulation.” (Schulte) Labeling sounds such as these work very well in conjunction with creative non-linear editing to push emotion into the audience, more specifically in movies such as Arrival. Arrival displays this in the musical palindrome, “On the Nature of Daylight” by Max Richter, placed both in the scene at the beginning and end of the film that depict

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