Nominations for the best Oscars director have always been a big deal. This category helps highlight some of the best artistic minds in the industry, especially those who have repeatedly shown mastery over their craft. Take a look at last year's nominations for Best Director: Christopher Nolan ("Oppenheimer"), Martin Scorsese ("Flower Moon Killers"), Justin Trieth ("Anatomy of Fall"), George Lantimos ("Poor Work"), and Jonathan Glazer ( "Interesting Zone"). While Nolan's eventual Oppenheimer's victory was more than deserved, every other entry into this category highlights strong director Ethos, without which their respective film visions would have been impossible.

This year's nominations for Best Director at the 97th. Audiard for "Emilia Perez" (You can see the full list of nominated here). However, there is a gap in the shape of a Denis Vilnev, which gave us an epic, great sequel to his 2021 film "Dina" this year. "Dinah: Part Two" crossed several turnovers at the box office After its release in March 2024, the spice continued to flow for a long time as it collected positive reactions from critics and audiences. Even if we ignore his performance in the financial level, the second part of the "Dina" saga is nothing less than a movie triumph - the labor of love that has fruit.

Although "Dina: Part Two" had five nominations (including best film, cinematography and sound), the nomination for Best Director stingsEspecially given that Vilnev was also not nominated in the category of his work on his previous "Dina".

While "Dina" has already proven Vilnev's sincere love for Frank Herbert's saga, the "second part" strengthens this feeling and creates enough space for the director's sensitivity to the sensitivity. The first film deliberately advocates to set a motionless foundation to take root, while its sequel reveals the stroke of the science-fiction drama with the gradual "ascension" of the status of the Messiah of Paul Atreid. This is not an easy thing, given how Herbert's dense series of novels, with a thousand political machinations orbiting Arakis's suffering and the fall (and rebirth) of the Atreidi house. Vilnev captures these nuances as it focuses on what is most important: the layered interior of the sex, and how the women in his life shape his worldview.

Of course, the term "spectacle" is embedded in the dictionary of "Dina" and its famous universe, as the events do not cover a planet, but the whole galaxy. The views of this are sprinkled everywhere like crumbs, setting the Holy War to a full -scale that should change everything in the upcoming "Dinah: Messiah". On top of that, the glossy moments that convey as the Mastery of Fai-Hulud (sandy worms) of Paul demanded a complex visual mastery and a ton of patience, as it was Evocatively transferred to the written page rarely translates well to the big screen. But Vilnev nailed him, and "Dinah: Part Two" perfectly balances the dramatic spectacle with quiet, personal torment, creating tension so extraordinary that it cannot be stranded by Vilnev's Arakis.

"The second part" also dares to get away from Herbert's canon Planting Cani (Zendaya) as an emotional anchor for Paul; She cruelly shouted after he cheated on her love for him. Although Canie is important in books, she is presented as a fat -mummy character, secondary to Paul's ambitions and what the rest of the frem is expected of. Vilnev transforms their love story into one that is deeply important, because Canie is skeptical of the Paul Messiah complex and all that he wants to achieve and sees horror as he climbs to power anyway. These films are not directed by themselves, and I can only desperately hope that "Dune: Messiah" will deliver, and Vilnev will Finally Get the director's Oscar he deserves.