If anyone can guide a new adaptation of Frank Herbert’s seminal Sci-Fi novel “Dune” to a Best Picture nomination, it’s Denis Villeneuve. The auteur filmmaker earned a “surprise” Best Picture nod for “Arrival“ along with seven other nominations, including Best Director. His much-hyped follow-up, “Blade Runner 2049,” earned five creative nods and was finally the catalyst for cinematographer Roger Deakins to win a much deserved Academy Award. But, despite some rave reviews and notable top 10 lists (including this particular writer), The Academy didn’t deem it worthy of the major categories “Arrival” cracked. Following its world premiere at the Venice Film Festival today, many are wondering whether “Dune’s” awards journey will return Villeneuve to his “Arrival” heights, or, like his last film, decidedly not.
Intriguingly, the big issue Academy voters will soon face isn’t whether they have too many players they can pick and choose for seven to nine nominees. The tea leaves indicate members may have some tough choices to select enough films for 10 guaranteed Best Picture slots this year. Sure, they could reward more international films (we’re looking at you, “The Worst Person in the World”), but we’d be surprised if there is more than one non-English language film among the 10. And yes, that could help “Dune” make the expanded field. Beyond critical acclaim, it’s a campaign that will need to count on realistic box office expectations (see “In the Heights,” which could still make the ten) along with some major industry love, however.
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In other categories, Villeneuve is on a long list of contenders for a Directing nomination (he absolutely conveys his vision for the material) but will have significant competition for the final five nominees. Villeneuve co-wrote the adaptation with Jon Spaits and Eric Roth, and while the latter is a previous winner, it will be difficult for the trio to crack what is almost always the toughest screenplay race.
In the acting categories, there is really only one contender, Rebecca Fergusson, who plays Lady Jessica, the film’s emotional heart. Intriguingly, Fergusson has second billing after the film’s lead, Timothee Chalamet. WB could argue she’s supporting; the film is absolutely centered around Chalamet’s character Paul. Still, considering how weak the Best Actress race is looking, it might be in everyone’s best interests to run her as lead (and it would be deserved). Chalamet is fine, but it would be almost shocking to see him nominated for this particular performance (let’s see how the Best Actor field plays out). Charlotte Rampling steals every scene she’s in – wearing a veil the entire time – but she simply has too little screentime for a genuine supporting campaign.
That leaves us with the below-the-line or creative categories where “Dune” may be battling Wes Anderson’s French Dispatch” or Guillermo Del Toro’s “Nightmare Alley” for the most nods. Editing (Joe Walker), Production Design (Patrice Vermette), Costume Design (Jacqueline West, Bob Morgan), Score (Hans Zimmer), Cinematography (Greig Fraser), Sound, Hair, and Makeup, and Visual Effects are all likely. Anything more than that? Possible, but absolutely “gravy” considering the season.
Obviously, writing this from Telluride, it’s obvious that I, along with other members of the media, were able to screen “Dune” before its Venice premiere. A few weeks ago, Warner Bros invited a select few to their Burbank lot to watch the film on one of the biggest non-IMAX screens in Los Angeles. Afterward, we were given an up-close look at Duran’s costumes and some of the prop designs overseen by Vermette. Images of which are embedded in this post and avoid any potential spoilers.
“Dune” opens nationwide and on HBO Max on Oct. 22
