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The change was deliberate on Denis Villeneuve’s part to turn Chani into the film’s moral compass and force the audience to experience Paul’s rise as a tragedy rather than a triumph. In the novel she largely supports him and fades into the background once the war escalates; Villeneuve rewrote her as a skeptical, independent Fremen fighter who rejects the Bene Gesserit-planted prophecy and actively resists both Jessica’s religious manipulation and Paul’s embrace of the Lisan al-Gaib role. By filtering the climax through her eyes—especially her rejection of the political marriage to Irulan and her final departure into the desert—the movie makes clear that Paul’s “victory” is the start of a holy war he once claimed to oppose. Villeneuve has said the shift brings the adaptation closer to Frank Herbert’s original intent. Herbert was frustrated that many readers treated Paul as a straightforward hero and wrote Dune Messiah partly to correct that reading; by giving Chani a voice of dissent throughout Part Two, the film embeds that cautionary note immediately instead of waiting for a sequel. It also keeps her from disappearing into Paul’s shadow, gives the love story real dramatic stakes, and foregrounds the story’s warnings about charismatic leaders, colonial messianism, and the cost of power.