Here some stills from Frank Herbert’s Dune (2000) and later Frank Herbert’s Children of Dune (2003) in anticipation of Denis Villeneuve’s forthcoming adaption, which should start filming in 2019. Closer to the novels than David Lynch’s version Dune (1984), the two miniseries are rather great. Once again one realizes how much George R.R. Martin and legions of other writers were influenced by the plot density of Dune. Besides the constant intrigues and scheming, Dune is known for its analog-futuristic aesthetics, its depiction of competing houses wanting to secure natural resources (Arrakis’ spice), its examination of declining empires and revolt, its Middle Eastern and spiritual references (Jihad and Zen Buddhism). Frank Herbert’s Dune and Frank Herbert’s Children of Dune have strong set designs and a distinct theater like feel. The characters are placed within these incredible sets, with subtle light and color changes reflected on their faces and bodies. Dune has no shortage of large scale action scenes, yet the focus lies on the interpersonal, intimate relations between the characters (acting is superb overall). We also get a real sense of the desert planet Arrakis with its hot and difficult, magical environment. The costume design is great as well. There is much to look forward to Villeneuve’s version. Frank Herbert’s Dune and Frank Herbert’s Children of Dune are verbose, which makes perfectly sense as the makers took a particular theater like direction. I hope in his version of Dune, Villeneuve will continue the almost silent movie like quality of Blade Runner 2049 with its visual-atmospheric approach to storytelling. This would work well for Dune with its striking desert vistas and medieval-futuristic set and costume designs. Too many words would fail the intensity of the silent, beautiful and challenging environment of Arrakis and its native population, the Fremen.