“There is something really lucid and clear and at the same time ethereal and mysterious inherent in black-and-white photography,” “Belfast” cinematographer Haris Zambarloukos, BSC says. “I feel color is often better at being descriptive — you can see it’s autumn because of the red leaves in shot.

“But since filmmaking tends to be about narrowing the focus for the audience, about how and where they see things, black and white is a fantastic way of capturing emotion.”

How did the director translate Frank Herbert’s gargantuan and seemingly impossible to film mythology of power, ecology and geopolitics to the screen? Yeah, let’s talk about that.

Director Jeymes Samuel and the cinematographer “both love westerns and talked about all the films we love including ‘The Wild Bunch’ and ‘Once Upon a Time in the West,’” Malaimare recalls. “We wanted to create something that pays tribute to classic westerns but with a totally different approach.”

“In Paris, any time I walk down a street I don’t know well, it’s like going to the movies,” says the director. Let’s visit his literary and cinematic universe.