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Calling Hitchcock the “master of suspense” is a useful historical shortcut, but it says little about how his films work. A more useful method asks what the viewer knows, from where they look, how long they must wait, and what framing, cutting, sound and space do to make that position unstable.
You do not need to turn the screening into a franchise exam. The preparation that genuinely helps comes down to one earlier film and a few relationships, rules and conflicts that Dune: Part Two continues immediately.