This chapter focuses on David Lynch's 1984 film version of Dune. It analyses Dune's narrative structure, characterisations, its approach to science fiction, and audiovisual language that are all highly idiosyncratic. It also illustrates Dune as an audacious science-fiction film that refuses to be futuristic, as a political narrative that is undone by the power of prophecy and dream, and as an adventure story structured like a poem. The chapter talks about the feeling of watching Dune, which is described as being unmoored from cinema itself and free-floating in the form's infinite, unexplored possibilities. It explores the core elements of Frank Herbert's novel version of Dune, which is heavily reliant on its own internal logic.
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