Illustration: Liu Xiangya/Global Times

Since early March, the new sci-fi film Dune 2 has hit screens worldwide garnering high ratings and word-of-mouth praise. Serving as a sequel to the 2021 release Dune, the film, known for its minimalist aesthetic called Big Dumb Object, is an adaptation of Frank Herbert's 1965 1965 novel of the same name.

Back in the 1970s, the rise of television became a threat to the art of film, leading some major US studios to launch the Star Wars series in a bid to win audiences' hearts. Now once again, cinemas find themselves squeezed under the pressures of social media and video streaming services. The launch of the new series of Dune movies has been seen as a reminder of the vital role of theaters in people's everyday life.

The Dune series has the potential to become another Star Wars series of the current century despite the age of the source material: The book's 1965 creation may appear somewhat dated in its storyline and character development for today's younger viewers.

But the movie's PG-13 rating indicates a desire of the producers to cater to a broader audience. The selection of a star-studded cast is a common tactic to attract audiences. The inclusion of Hollywood's rising stars like Timothee Chalamet, Zendaya and Florence Pugh enhances the influence of this sci-fi epic from the 1960s on younger audiences. 

Particularly noteworthy in Dune 2 is the reinterpretation of the female leading character Chani. Unlike the character in the novel, a stronger female character is depicted in the film when it comes to the romantic relationship between the female and male leads.

In the novel, Chani accompanies the leading character Paul on his path to vengeance and rulership, willing to bear children for him. In the film, Chani becomes the sole resistor to Paul's power. 

According to China's movie magazine World Screen, the fact that Chani, as Paul's designated partner and closest lover in both the film and the novel, never succumbs to blind fervor of faith emerges as "the true hero in the eyes of the director Denis Villeneuve." 

Villeneuve emphasized in the interview his desire to restore Frank Herbert's vision, often misunderstood by generations of readers, showcasing the dangers of Paul as a leader merging from religion and politics.

Unlike other film genres, sci-fi films are both contemporary and futuristic. By comparing the narratives of Eastern and Western sci-fi films, we can glimpse at the evolution of the global landscape.

Represented by both the Star Wars and Dune franchises, Western sci-fi films focus on colonialism, power, and resource struggles between interstellar factions, a theme not unrelated to the backdrop of the Cold War.

As the Cold War came to an end, the world moved toward integration, with advancements in quantum physics, artificial intelligence and algorithms. 

Films like those by Villeneuve, such as Arrival and Blade Runner 2049, reflect on ethical issues of human-machine integration, religious control, and the importance of women in the future of humanity. They no longer glorify individual heroism but instead question concepts of destiny, reflecting the broader sense of disillusionment and anxiety in the Western world in the last several years.

Since the release of The Wandering Earth, the year of 2019 has been dubbed the "Year of Chinese Science Fiction" by the media. 

The film, adapted from Chinese sci-fi writer Liu Cixin's short story of the same name, depicts humanity's struggle against the imminent explosion of the sun. The Wandering Earth 2, released in 2023, serves as a prequel, showcasing how leading teams represented by China, fulfill their mission of protecting the Earth. The entire film embodies China's grandeur and offers a profound interpretation of the values of a shared human community.

What was once emblematic of "ancient and mysterious Eastern culture" now shoulders the responsibility for humanity's future. Perhaps this is closely linked to China's traditional sense of rootedness and its growing international influence. In future Chinese sci-fi films, there may be further exploration and imagination of extraterrestrial civilizations, but in the end, we must confront the spiritual longing for what it means to call Earth our "home."

The author is a former film media planner and writer, now working in the film and television industry. life@globaltimes.com.cn