Denis Villeneuve discovered a newfound sense of urgency when he signed on to return to the world of Arrakis and direct the third Dune film, something that he had initially said he wanted to take a break from following the release of Dune: Part Two. Set to be an adaptation of author Frank Herbert’s second novel, Dune: Messiah, Dune: Part Three has a lot riding on it, especially after the massive success of the first two movies. Besides being a box office juggernaut and one of the highest-grossing films of 2024, Dune: Part Two also received 7 Academy Award nominations, including for Best Picture, meaning that any follow-up would have to at the very least be on the same level of quality and cultural impact.
Thankfully, production on the film is already off to a good start, thanks to one key aspect: the cinematography. The visuals of the first two Dune movies have already achieved an impressive level of iconography in such a short amount of time, in no small part thanks to the talents of cinematographer Greig Fraser. The cinematographer’s claim to fame was his innovative use of StageCraft, also known as “The Volume,” something that wasn’t commonly used until Fraser’s work as cinematographer on The Mandalorian. While Fraser may have departed the project, his replacement has led to a key, exciting change: new cinematographer Linus Sandgren will be shooting on film.
The Change of Cinematographers Can Give ‘Dune: Part Three’ New Thematic Strengths
Given that the upcoming third Dune film is based on an entirely different novel, it only makes sense that it has its own unique visual flair, making Fraser’s departure a blessing in disguise. The talented cinematographer will be hard at work on Sam Mendes’ Beatles films, which has led Villeneuve to recruit Linus Sandgren to this ambitious adaptation. With this change comes the exciting development that Dune: Part Three will be shooting on film, as opposed to Fraser’s digital camerawork on the first two films. The change in aesthetic will undoubtedly help drive home the themes established in Paul’s ascension to power, which came at the cost of a massive religious war.
Known for his work on movies such as First Man, La La Land, No Time to Die, and Babylon, much of Sandgren’s work has been shot on film, usually because the thematic content of the movie is reinforced by the format. While the first two films had expertly showcased Paul Atreides’ rise to power, the third film will likely explore the cost of hero worship and the consequences of making himself a messianic figure. By being shot on film, the movie could evoke the powerful imagery of one of cinema’s greatest epics: David Lean’s 1962 masterpiece, Lawrence of Arabia.
A dramatization of the life of T.E. Lawrence and his book “Seven Pillars of Wisdom,” the movie is considered to be one of the best ever made. It depicts Lawrence’s growing disillusionment with war and power in a way that inspired how Villeneuve would make the Dune films, something that the filmmaker himself confirmed.
Filmed with Super Panavision 70mm, Lawrence of Arabia could serve as an even more compelling visual reference now that Dune: Part Three will also be shot on celluloid. With Paul heading toward the same narrative arc of disillusionment, Sandgren’s knack for capturing sweeping and epic stories, such as Babylon and First Man, will come in handy, while also hopefully distinguishing itself from the past two movies.
‘Dune: Part Three’ Can Capitalize on the Newfound Popularity of Shooting on Film
The timing of Sandgren’s involvement couldn’t have been better, especially since premium film formats have become a highly sought-after theatrical experience. Recent releases, such as Oppenheimer, The Brutalist, Sinners, and others, have heavily promoted the fact that the projects were shot on film and that only a select few locations would be screening the movie in the way it was intended to be seen. Embracing Sandgren’s use of film could lead to even more hype for Dune: Part Three, as the gorgeous visuals of Villeneuve’s sci-fi epic, combined with the premium format, will make it an event film that no one will want to miss.
Sandgren’s talent for capturing vast landscapes and ambitious set pieces — evident in his work on Babylon — could give Dune: Part Three a distinctive visual style while still honoring Fraser’s foundation. There is also Villeneuve’s own input, as the director undoubtedly works closely with his fellow creatives for striking visual imagery. Whether it is his work with Roger Deakins on Sicario and Blade Runner 2049, or Bradford Young on Arrival, the director has consistently ensured that his movies are visually distinct.
Sandgren has also proven in his work that he can provide a sense of visual splendor that would make Dune: Part Three stand out. The lunar landing sequence in First Man, shot on IMAX 70mm film, combines intimate storytelling from Chazelle’s direction and script with breathtaking visuals and a clever use of perspective to create an unforgettable and immersive experience. Sandgren could do the same with the breathtaking landscapes that are at the center of the Dune franchise.
‘Dune: Part Three’ Needs To Stand Out To Succeed
Switching cinematographers between films can sometimes be just as jarring as a change of directors. A sudden visual shift always has the potential to disrupt continuity, or even turn off die-hard film fans who are otherwise interested in a project. However, the change also comes with the technical aspect of now shooting on film, and pairing that with Sandgren’s experience and knack for shooting movies in a way that evokes a nostalgic and old-school feel, it’s hard to see this change as a bad thing. In fact, Dune: Part Three already feels like it is headed in the right direction and could even provide an improvement over the look of the previous two films.
With Villeneuve set to direct the next James Bond film, it’s likely that Dune: Part Three will be the last time the filmmaker steps into the world that Frank Herbert created. Moreover, Dune: Messiah has been widely regarded as a natural stopping point in the story for a trilogy of movies. With Sandgren behind the camera and the movie being shot on film, Dune: Part Three is shaping up to be Villeneuve’s grand send-off for a series he has been working on since 2017 and dreamed of making into a film since his childhood.
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