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I don't think Denis Villeneuve—who's on the record as being"pro-choice"—meant to make a fetal personhood argument, but I remain very skeptical of these scenes., my friend leaned over to me and asked, “Was this funded by anti-abortionists?” I’d been mulling a similar, half-joking thought since one of the first scenes, which shows a CGI embryo floating in the inky darkness of, we surmise, Lady Jessica’s womb.
At this point, it had already been revealed that Jessica talks to the fetus, that it understands the political forces on the other side of the uterus wall, and that it will become Paul Atreides’s younger sister, Alia, who later briefly appears as a full-grown adult Anya Taylor-Joy in one of Paul’s visions.
After Paul and Jessica take a tumble while avoiding Harkonnen gunfire, Paul makes sure his mother is OK; he also asks “and how’s she?,” nodding towards Jessica’s stomach. Jessica is not showing at all at this point, so this is clearly meant to broadcast that the CGI fetus is inside her; I don’t think Paul’s actually worried about the pregnancy—I assume that a Bene Gesserit would only miscarry if she wants to.
Lady Jessica herself is an extremely important character and remains so even as her pregnancy progresses; the film is not at risk of prioritizing the life of the unborn fetus over its mother, unlike the actual fetal personhood movement but I really enjoyed it; its pacing was impressive, given how much plot Villeneuve had to squeeze in, and though there were a lot of fight scenes, each one made narrative sense and none ever dragged.
“I respect life, but I believe a woman must have her freedom,” he added—uninspired but fair. However, early on in his career, he was even less enthusiastic about abortion. In 2001, while discussing one of his first feature films,, which features a woman feeling guilty after having an abortion, Villeneuve said that he is pro-choice, but felt that abortion “should never be taken lightly.” —but if Villeneuve’s assistant’s assistant is reading this, I’d love to chat.
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