DUNE: PART 2

Visually dazzling and overwhelming in its scale, Dune: Part Two becomes enmeshed in the political denseness of author Frank Herbert’s world. Working within Denis Villeneuve’s vision of these deep, detailed and textured worlds, Territory was honoured to design a number of elements that embellish the production. An animated holographic war console and a weapon reticle were produced for the Harkonnen Mentat.

THE BRIEF

Part Two expanded the scope of Dune's world significantly — introducing Giedi Prime, the Harkonnen homeworld, as a black-and-white industrial nightmare; deepening the Fremen culture of Arrakis; and developing the technology of the Bene Gesserit, whose ancient sisterhood operates at the intersection of religion, politics and genetic manipulation. Each faction's technology had to feel distinct from the others while remaining coherent within the universe's fundamental rule: no thinking machines, no digital computation. Territory returned to Villeneuve's production to develop the new elements while maintaining the visual standards established in Part One.

THE CREATIVE APPROACH

The Giedi Prime sequences presented a specific creative challenge: Roger Deakins shot the planet entirely in infrared black and white, creating a visual register unlike anything else in the film. Territory's work for those sequences had to function within that aesthetic — to feel credible and physically present in a monochrome world without losing the sense of weight and materiality that defined all the technology in the Dune universe. The Harkonnen instruments had to feel cruder and more brutal than the Atreides equivalents — less worn by use and more worn by indifference.

The Bene Gesserit technology required a different approach entirely: objects that were less instruments and more artefacts, carrying the accumulated weight of centuries of use by an organisation that understood power in biological and psychological terms rather than mechanical ones. Where the Atreides technology felt like the product of engineers who cared about their craft, the Bene Gesserit objects felt like the product of an institution that understood that the oldest things carry the most authority.

Across both new environments and the continuing Fremen and Atreides threads, Territory maintained the core discipline of Part One — every object made rather than designed, every surface earned rather than rendered — while extending the visual language to serve the specific character and dramatic logic of each new world.

THE OUTCOME

Dune: Part Two grossed over $700 million worldwide and was widely reviewed as a rare sequel that exceeded its predecessor — a more ambitious, more emotionally complex and visually richer film than Part One. Territory's work across both productions was cited within the industry as a definitive example of screen and interface design at the service of world-building rather than spectacle. The creative partnership with Villeneuve extended further into Dune: Prophecy for HBO Max, confirming Territory as the primary visual language partner for the Dune universe across all its current and future expressions. 
The visual effects of Dune: Part Two was celebrated in 2025 with wins at the Academy Awards, BAFTA Awards, VES Awards, and Critics Choice Awards.

Director Denis Villeneuve · Cinematography Roger Deakins · Production Designer Patrice Vermette · Creative Director Andrew Popplestone · Studio Territory Studio · Client Legendary Entertainment / Warner Bros.