Dune (2021) Review

Dune (2021) Review

Dune has for years been called an “unfilmable” story due to its complexity and the depth required. The restrictions of only a few hours of screen time has taken its toll on many directors who have tried in the past. At first there was David Lynch’s 1984 attempt to put the whole book in one film. That fell flat with its bloat and incoherent plot. Then there was a multi part TV special in the 2000’s, which gave it depth but lacked the budget to truly make the world alive.

That leads us to today.

Denis Villeneuve (of Arrival and Blade Runner 2049 fame) has stepped into the ring. His approach split the book in two parts to make it one hell of a cinema epic that stays faithful to the source material. It’s in that second part, the faithfulness to the story, I am most glad to report Villeneuve has gone above and beyond.

Dune, to the uninitiated, was the story that has defined modern Science fiction. You don’t have to look far in the world of our most popular sci-fi films to see its impact. Alien and its title monster share a striking resemblance in form and habit to a creature in Dune. Blade Runner, with its detailed depth of a cyberpunk dystopian future, is lifted almost verbatim from the imperial ruling houses in Dune’s universe.

Even the most famous movie spoiler of all time, “Luke I am your father,” was a story beat taken directly from Dune. With the gravity of what Dune’s legacy has inspired, the story of bringing this to the silver screen properly has been a fraught with challenges and adversity.

With so much pressure on Denis Villeneuve I can say that he has, in his efforts, put his heart in the right place. The film is a cinematic masterpiece with sweeping landscapes and epic wide shots that demand every inch of screen real estate in your cinema. Its striking in its beauty and the world it builds is a character unto itself. This character is by far the biggest star in the movie. For better or for worse.

The actors in this movie were cast brilliantly. Timothée Chalamet is captivating as Paul, a young man thrown into a house of cards with powers he didn’t ask for and visions that slowly chill his soul through the progression of the film. Oscar Isaac as the Lord Duke Leto plays the compassionate but firm ruler, to a fault. And Stellan Skarsgård plays the unsettlingly disturbing Baron Harkonnen with his brief but memorable appearances. All of these actors played the part perfectly.

This is where I have my biggest critique of the film. Even with the captivating slow burn moments given to each character, I am left wanting more. More development and more time with them before your camera view gets pulled back out and the world takes over again. The world is greedy with its time in the spotlight.

It’s in this sense I feel Denis Villeneuve has put too much weight on making the audience fall in love with the unique universe as much as he has. But then again, I feel it was intentional. This movie is the first half of a two-part epic, and it doesn’t wrap up as neatly in the end as I would have hoped. With our scene set and our protagonist ready to come into his own, it stops, clearly leaving that extra development and a climatic finale for the second half, which I am left in great anticipation for. I think back to movies like Harry Potter and the Deathly Hallows Part 1 which on its own is an ok movie, however, when watched back to back with Part 2 it becomes a far more fleshed out and enjoyable experience.

For those of us who have read and know what is to come, we could not be more excited. For those just being introduced to this world with this movie, I pray the world is captivating enough to bring them back around for another go.

This movie is by far the best version of the legendarily difficult-to-adapt book. Great things are here in this film, and if this makes enough money even greater things lie ahead. I just hope its magic can get enough folks to come see it and have producers greenlight it’s finale it has rightfully earned. 

4.5/5 stars

Quarantine Creativity – We Need More!

Quarantine Creativity – We Need More!

It’s been more than a year since our initial COVID-19 lockdown and I’m sure we’re all sick of hearing about it. It’s taken over our lives, both for better and for worse, but now it’s time to focus on the positives. This year has been a time of extreme personal growth for a lot of people and, to my delight, a time of creative growth too. 

Many people have taken the free time locked up at home to learn new creative hobbies or develop old ones. I personally did more art than I have in years; I even learned to embroider. I also rediscovered my love for creative writing. As a kid I always had a handful of stories going at all times, but school and work made it difficult to keep up with. During our first lockdown I took a creative writing class for Webster and fell in love with it again. 

We at the 78 are always looking for new pieces from students. Whether it is an article, a piece of art, a video, or just an idea, we would love to receive new work that showcases what students have accomplished this year. Any work can be submitted to caitlyn22fish@gmail.com.

Here’s a look at what I personally created. 

 

 

HUMDRUM HOUSE

by C. Fish

 

If asked where you saw the house, you wouldn’t know, but on every drive, down every road, at least once, it will be there. If you looked for it you might come up empty. It might catch your eye driving past, maybe you’d even point it out. But later, if asked to describe the house that you’d seen, you’d be unable to recall any details, or if you’d even seen it at all. Like a dream from weeks past that you can only remember at the back of your mind; subliminal. 

You know it’s there but you can never bring it into focus, the more you try to remember the more your mind wanders, unable to recall details, never seeing it for more than a second. 

It would be an eyesore, if you were to notice it. But it blends in. It should’ve been knocked down a long time ago, if anyone cared. But nobody does. It was there but it wasn’t. Right on the side of the interstate. Right on the edge of consciousness. Past the guardrails and surrounded by dense forest.

I asked my mother once if she had seen the house. She said yes, she knew of it, but that was all. My grandmother said the same. So did everybody else that I asked. For them, the house held no intrigue, they didn’t care, but I can’t forget it. 

I’ve always been inquisitive. I like puzzles of any kind, and I don’t like leaving them unsolved. The house has always been a puzzle. It bothers me that nobody seems to acknowledge it. In my mind it’s like a thorn, always there, never leaving. When I think I have forgotten about it, the thorn digs deeper, drawing blood until I see red. 

I need to know. 

The mid-summer sun was beginning to set in the sky when I decided to satisfy my curiosity. I got in my car and headed off, in no direction in particular. It took longer than I expected but the house always shows up eventually. In front of it is a row of police barriers striped with orange and white, acting as a wall. Have they always been here? 

I brace myself on one of the barriers to jump over it and gasp. Pins and needles shoot through my hands and up my arms, equally as painful as it is shocking. I leap over and rub my arms, which are still tingling. 

I was so preoccupied with getting rid of the feeling that I didn’t notice the shift at first. Nor was I able to pinpoint what it was when I could feel it. Then, I understood. 

Silence. 

There are no more passing cars, the crickets have stopped singing, the frogs have stopped croaking, the wind in the leaves grew still. It’s not only quiet, it’s more than that. A silence that is everywhere, that creeps into my bones.

For the first time I can see the house with full clarity, like the edges have solidified and given the house shape that it didn’t have before. It’s a simple structure. Two stories with a porch out front and gardens that bloom with flowers, despite never being tended to. The house is muted, quaint in its own way. Grey-blue paint covers the outside, faded from uncounted years of sun damage. It was probably attractive when it was built, but that was a long time ago. It has faded to nothing, just like the memory of it will.

There are no tire tracks, no footprints, no signs of life. 

I take a step. The crunch of gravel underfoot creates a deafening break in the silence. The very earth seems to tell me that I’m doing something wrong. My body grows heavy and a silent wind pushes me back. 

I need to know.

From the porch I can see into the windows. On one side a living room and on the other a kitchen. They are the polar opposite of the outside. Bright floral drapes frame the kitchen, showing off vibrant turquoise and yellow inside. The living room is nothing short of lavish, multiple couches with plush blankets sit in front of bookcases that cover an entire wall. It looks like a set. Like a show house that has never been shown. 

I know someone lives here. They must. 

The door handle resists but, knowing it must act like its worldly counterpart, it complies and turns to the left. The lock clicks, the sound echoes into the trees and sinks into my consciousness. Suddenly ice cold shoots up my hand and as I pull it back and wince, the door flings itself open, revealing an entryway with a steep staircase. 

A gust of stale air and expensive perfume, like a sigh from the house itself, reaches me a moment before the sound does. 

Deep. 

Haunting. 

Old. 

I can’t tell if it’s human or animal, alive or dead. 

I need to know. 

I step inside a moment before my gut tells me not to, the door slamming behind me. There is something here. Something trapped. A deep laugh, full of centuries of resentment, hope, and glee comes from the top of the stairs. It fills the space, finding its way into every nook and corner of the house.  

Then, I see it beginning to descend from upstairs. Shrouded in darkness and formless to my eyes, I can feel the power it exudes. I want to get closer, to see what shape lies within that darkness, but I know it would be a mistake. 

What have I done? 

In a voice that is more inhuman than human it speaks, “Welcome.” 

My own voice is ripped out of my throat, and I suddenly understand why this house has never once had its door opened. 

A moment of absolute fear is overpowered by a feeling that has no place here. One that I should not be feeling. Contentment. 

I manage to speak in a voice that is no longer mine and never will be again, “I’m home.” 

Vices

Vices

VICES

A practice, behavior, or habit generally considered wrong or taboo in a society.

A fault, negative character trait, or bad and unhealthy habits.

            For my vices project I decided to portray common and often overlooked vices in everyday life. The series follows what could be considered “a day in the life” of anyone, rather than a specific person. Some of the vices apply to me, some do not, but they are all devices or activities that are considered socially acceptable and yet they have negative effects.

The photos go from bed to bed, from waking up to falling asleep. Each photo has a linking element to the photo prior to show that they are happening in order and one vice often leads to others. The linking element changes in each photo but it’s everything from a phone, to wine glasses, and lipstick on the cigarette. They are hopefully noticeable but not where the eye goes first and maybe even require a second look.

Most of the vices are self explanatory, but religion slightly less so. From my perspective religion is meant to be a good thing but people often miss-interpret and miss-quote scripture to justify bad behaviors such as homophobia.

The Book

The Book

The Book,  a short experimental film by Ashli Sartorelli, created as a 5×5 for an introductory level film class.

It represents the process of picking a book in an artistic way, using natural sound and a variety of shots.

Beyond the Frame

Beyond the Frame

Beyond the Frame:

An Interview with Lina Bessonova

 

Polina Bessonova is a Russian born analog photographer working in her own lab in Florence, Italy. Analog is a method that combines photography with chemistry to develop and process the film that you shoot photographs on as well as to create physical prints. She is a graduate of Webster Geneva and continued her studies by getting a photography masters at Studio Arts College International. Her focus is on film photography and she teaches workshops in her lab as well as showing her work in exhibitions and in her newly published book “At Home.”

 

  1. How did you end up at Webster?

Before Webster, back in Russia, I was working as a radio presenter so I went to Webster to get a Media Communications degree with an emphasis on Radio Production. But then I discovered analog photography and never took a single radio class!

  1. When did you start photography?

I have always had the urge of documenting my life, so I started blogging and doing digital travel photos when I was 16. I was also doing some paid digital photoshoots, as I really liked showing people their own beauty. However, the medium didn’t satisfy me much, as it was way too easy, and I was spending too much time in front of the laptop. I consider the real date of starting photography to be September 2010, when I processed my first roll of film and fell in love. Another important date would be the summer of 2011, when I made the commitment to stick with analog no matter what.

  1. Who are your mentors? Both in and outside of Webster? 

I would not be where I am now without Francesco Arese Visconti, who back in 2010 was just teaching the Photo program. It was so important to see that analog photography can actually be a real job. You can teach, do documentaries and art, travel with a large format camera, and get published. Witnessing him do all of that made me believe that I could too. Since then I just did it.

  1. Why do you think your photography is important?

I don’t think it is. The world wouldn’t notice if I never photographed at all. However, since I started being more active on social media, I got hundreds of messages from people who watched my videos, read my posts and got inspired to set up darkrooms or buy film cameras.

  1. What type of photography do you work with most? Do you have creative freedom or are you pressured by demand?

I have zero pressure about any kind of specific subjects, because my actual work is on the teaching side. I’m researching, reading, testing and learning every day, but the images themselves can be anything I wish. It’s such a nice and rare setup. I can go from portraits to reportage to still life to landscape; whatever I feel like on this specific day. I generally like metaphoric images of random objects.

  1. What kind of clients are attracted to film and how do you find work?

There is an increasing amount of people wanting to learn analog photography and darkroom printing. They make time and money investments, come to workshops or take individual courses. I mainly encounter film lovers with engineering/IT backgrounds, but there are also artists willing to learn a new medium of self-expression, doctors who have a hobby darkroom in their basement, or digital photographers wanting to get their hands into chemistry.

  1. Why did you decide to create a book of your prints?

It was a big shift from taking random photographs to making a series. It’s like you’ve always been rhyming two words, and suddenly you have to put together an entire poem. It’s a challenge, and I love challenges. And you can certainly express yourself more in a poem. The book’s title was “At Home” I would love to make a second one, or do another edition with extra images.

  1. What advice would you give to people who are into film photography as a career?  

Good luck, and keep a backup second job, at least in the beginning. And make sure you aren’t allergic to chemistry.