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Dune, which is handled locally by Legendary East but is also understood to be part of a single-pot deal with WB, came in second behind local propaganda pic The Battle At Lake Changjin (RMB 205.3M/$32.2M weekend). This will shake out tomorrow, but either way is right where we saw it coming into the weekend and surpasses the lifetimes of both Villeneuve’s Arrival and Blade Runner 2049. Dune has grossed an estimated RMB 139.4M ($22M) according to local ticketing platform Maoyan, though some are seeing it a skosh higher. The top overseas market was China where Dune is the first major Hollywood release since Disney/20th Century Studios’ Free Guy back in late August. In like-for-like markets and using today’s rates, Dune is tracking on par with Tenet and ahead of Godzilla Vs Kong by 7%, Black Widow by 57%, Shang-Chi And The Legend Of The Ten Rings by 60% and Blade Runner 2049 by 81%. The overall holdover drop was a terrific 38%. This lifts the running cume to $180.6M internationally, and to $220.7M worldwide. The Denis Villeneuve-directed Dune led offshore business for the session, taking an estimated $47.4M on 49,205 screens in 75 overseas markets. It’s a film of discovery an invitation to get lost.ĭune screens at the Venice film festival and is released in Australia and the UK on 21 October, and in the US on 22 October.James Bond 60th Anniversary Celebrations To Include Christie's Auction, Shirley Bassey-Fronted Concert After that we’re on our own, wandering in the desert, wonderfully immersed. He has handed us a movie to map out at our leisure and figure out on the run: apparently spitting on someone is an gesture of respect, while walking sideways like a crab is the safest way to proceed. He has constructed an entire world for us here, thick with myth and mystery, stripped of narrative signposts or even much in the way of handy exposition. The drama is played out with relish by an ensemble cast (Rebecca Ferguson, Charlotte Rampling, Jason Momoa) and Villeneuve is confident enough to let the temperature slowly build before the big operatic set-pieces eventually break cover. In the meantime: good heavens, what a film. “This is only the beginning,” he is assured – and one dearly hopes this is true. The worms will swallow you whole if given half a chance, and poor Paul’s in a hole, wondering what he will do next. The sand blows and drifts like a living thing. Paul’s only chance is to embrace his disenchantment and carve out a new path, one that leads into the hills. Josh Brolin’s weapons master can’t save him, while Stellan Skarsgard’s bloated, floating baron is plotting a bloody revenge. “I’ve been set up to fail,” says the Duke when spice production has stalled and he realises how malign the forces behind him really are. Should this crash and burn at the box office, his story looks likely to remain incomplete. The Dune we have here covers only the first half of the book. Even Villeneuve finds himself unable to celebrate a victory just yet. David Lynch’s 1984 version was widely dismissed as a dud, while a TV miniseries that aired in 2000 appears to have since turned to dust. Alejandro Jodorowsky tried and failed to bring it to the screen.
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But the desert world of Dune has a knack for destroying those who come to tame it, just as the novel itself has claimed some high-profile casualties.