Three hours of stunning galactic epic

The visual and narrative daring of Denis Villeneuve transforms modern science fiction.

There is little doubt that Sensacine readers chose the best science fiction film of the year. ‘Deadpool and Wolverine’, ‘Alien: Romulus’, ‘Godzilla and Kong: The New Empire’, and ‘Transformers One’ are finalists, but ‘Dune: Part Two’ (which you can watch on Movistar Plus+ and Max), the second part of Denis Villeneuve’s epic adaptation of Frank Herbert’s novels, is the winner. Website users gave it a 4.3 out of 5, matching the publication’s perfect five stars.

Villeneuve’s film was more spectacular, solemn, and visually appealing than the first part, which established the fictional universe millions of years in the future. After House Atreides was destroyed by the Harkonnens, Paul Atreides was installed on Arrakis. Will he be the Chosen One the Bene Generit sisterhood has predicted for centuries?

Beyond its strengths as a space opera that differs from the familiar and accessible style of ‘Star Wars’, ‘Dune’ and its sequel are remarkable for their ambition in depicting a galaxy, indicating that there is much more to explore. Thus, ‘Dune: The Omen’ was born relatively naturally, a television series that narrates events centuries before the films and still develops events that influence Villeneuve’s two feature films.

Dune and its sequel have their own issues, mostly due to the difficulty of adapting Frank Herbert’s massive novels, which go beyond Villeneuve’s proposal. Overall, his two ‘Dune’ films are a refreshing twist on recent sci-fi fiction and a visual balm in a time when all audiences consume television aesthetics.

There are many post-apocalypse dystopias, but Winton’s eco-disaster stands out. An unnamed man and a mute girl flee across future Western Australia’s blasted landscape. A crossbow-wielding stranger kidnaps them in an abandoned mine. In order to stop this person from killing them both, the man narrates his life Scheherazade-style.

This long novel brilliantly builds tension as to whether the strategy will save them. The night shows us what it means to live in a ruined world, from The Hundred Years of Light to The Dirty World and The Terror. A paramilitary group called “the Service” hunts the Earth’s collapse architects, descendants of corporate polluters from our time, who live in redoubts and bunkers. As expected from Winton, the prose is beautiful, and a passion for our beautiful planet and anger at corporations’ damage burns brightly throughout.

A 24th-century information curator, Rowena Savalas, finds a summer 2024 online text. It describes Fairly’s coming-of-age ritual on the Horned Road, where the evil “Breathing Man” follows her. Each section is 381 words long. Fiction or autobiography? Why is 381 significant? Fairly’s surreal adventures are annotated by Rowena, who struggles to understand them. Whiteley’s expertly disorienting novel provides enlightenment, but the ending leaves us rethinking our assumptions. A fascinatingly odd fable.

A British-Cambodian woman joins the ministry that collects “temporal expats” from history to test time travel. She manages “1847”—Commander Graham Gore, who died on the Franklin expedition to the Arctic but has been brought into the 21st century. Bradley shows Gore around modern Britain with charm and wit, surprising him with washing machines and pop music and the end of the British empire. She also tells a thrilling story as the ministry’s project’s true purpose is revealed, a compelling love story, and a look at imperialism’s toxic legacy. Smart, funny, and moving, this debut was the year’s hit.

Dr. Beeko cures cancer by replacing all organic cells with perfect “nanodroid” cells. The cure is too successful, as the nanite-cellular body becomes immortal. When does a person stop being themselves? Literature scholar Yonghun, whose body Beeko has remade, teaches an AI to appreciate poetry, creating a new subjectivity named Panit, whom Beeko uploads into an artificial body to give it embodied life.

Panit, influenced by Eliot and Dickinson, sees the world through poetry. As Yonghun, Panit, and other “nano humans” reproduce and thrive, humanity faces an existential threat. Or have they become human? The novel’s penultimate section, The Very Far Future, explores interstellar wars, language loss and recovery, and deep space and time vistas toward the final section, Eternity. Hur’s beautifully written novel explores humanity, love, beauty, and death.

Three hours of stunning galactic epic

By ki0nk

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