According to Wikipedia, Frank Herbert’s 1965 novel ‘Dune’ is widely considered to be the world’s best-selling science fiction novel and has already spawned one failed attempt at a film adaptation – from Oscar-nominated director David Lynch no less. Thirty-seven years later, Denis Villeneuve takes up the challenge and despite his Dune being one of the most hotly anticipated films of the year, I managed to head into my viewing without any expectations or preconceptions whatsoever. But no expectations often lead to good things and if anyone can deliver the goods it’s the guy who gave us Arrival, Prisoners and Bladerunner 2049.

Planned to be told in two instalments, Villeneuve’s cinematic epic depicts roughly the first half of the Herbert’s novel and introduces us to his dense and complex world full of mythology, religion and history. If you are a newbie, like me, then it might take some time to get your head around the different families and understand the complex politics but, in all honesty, its not that big a deal in the grand scheme of things.

The main bulk of the story takes place on the commodity rich planet of Arrakis where Spice is harvested, a substance that holds spiritual properties to the natives and gives the rest of the universe the ability to maintain interstellar travel. The hostile desert planet is home to the blue-eyed Fremen’s but is ruled over by the callous House Harkonnen, their constant battles and guerilla warfare seems settled after the Emperor decrees that the Harkonnen’s relinquish their power over the planet and return to their home world. In their place, he sends the noble House Atreides ruled by Duke Leto, who pledges to form a treaty with the Fremen, despite sensing that his appointment is most likely a trap.

The political landscape, and drama that comes with it, is the backdrop for Paul Atreides’ story – heir to House Atreides, prophesised as ‘The One’ for the mysterious Sisterhood to which is mother belongs and plagued by visions of a mysterious girl in the desert – Paul is a young boy being pulled in many directions, but we will have to wait until the second part to see just how his story will unfold.

Visually the film is incredible and the world-building is rich and inviting but story-wise, it’s quite difficult to write about something that you know is only half finished and its rather abrupt ending leaves you feeling a little dissatisfied and unfulfilled. However, I imagine this may be how it must’ve felt trying to review The Fellowship of the Ring without knowing how the next two films would tie everything together into something magnificent.

The slow and deliberate pacing was made painful by the uncomfortable cinema chair I found myself in but did allow time for the story and characters to breathe and develop organically, a decision that I think (hope) will pay off when we are able experience the full package. The suggestion of power wielded by the mysterious sisterhood, the Bene Gesserit, and the facelessness of the Emperor adds a level of intrigue to Dune that will maintain my interest in the gap between the two instalments.

Given the calibre of the cast, there was the potential for egos to unbalance the equilibrium of the film (a la Jared Leto in House of Gucci) but each person delivered exactly what they needed to and how they needed to. Oscar Isaac exudes honor and nobility as the patriarch of House Atreides, supported by Jason Momoa and Josh Brolin in his council. The sinister brutality of House Harkonnen is greatly implied through the performances of Dave Bautista, David Dastmalchian and the always excellent Stellan Skarsgard as Baron Vladimir Harkonnen. Zendaya and Javier Bardem don’t have a huge amount screen time in this part but they take what they’re given and give a sense of strength and mystery to the sand-dwelling Fremen.

Although there are strong and solid performances throughout, ultimately the film belongs to Timothee Chalamet and Rebecca Ferguson. Whilst I may not be as enamoured with Chalamet as most of the cinema-going world seems to be, I can appreciate the compelling performance he delivers here; a capable fighter burdened with the rather arrogant ignorance of youth and impending sense of purpose and responsibility. The only one capable of stealing the spotlight from Chalamet is Ferguson, who is as mesmerising as ever when she is on screen, deftly balancing the conflicting allegiances that come with being a mother and a member of the enigmatic Bene Gesserit.

Going in completely blind, I initially found Villeneuve’s Dune to be an immersive spectacle that unfurls a little too slowly for my liking however I do believe that everything will come together eventually and I will be withholding my judgment until I have experienced the complete story. 2023 will be here before we know it.