Home » Furiosa A Mad Max Saga Review: a Chromatic Cinema with a capital C
Furiosa A Mad Max Saga Review

Furiosa A Mad Max Saga Review: a Chromatic Cinema with a capital C

We previewed Furiosa: A Mad Max Saga, George Miller's new action prequel to Fury Road presented at Cannes: review

How do you make the new chapter of the greatest action in movie history, namely Mad Max: Fury Road? It is certainly not for the faint of heart but George Miller, father of the post-apocalyptic and creator in the 1980s of the so-called ‘western on two wheels’ with the original trilogy of Mad Max played by Mel Gibson, now in his late 80s still evidently has a lot to prove to fans, critics (often too myopic), and especially to himself: and so here’s to you and us Furiosa: A Mad Max Saga, prequel film starring Anya Taylor Joy set both before and on the heels of the seminal 2015 blockbuster with Tom Hardy and Charlize Theron.

Fury Road changed the playing field of world action by almost nothing, with no expectations behind it – the Mad Max saga had been gone from circulation for decades – but now things have changed, and Furiosa arrives (at Cannes 2024) with the eyes of all those expecting an ideal Fury Road 2: fortunately, however, George Miller does not even attempt to remake the same movie; he chooses a totally different path and language.

Furiosa: “Do you remember me?”

Right from the digital descent that in the film’s first few seconds from orbit rotates around the globe and swoops and dives into the Australian outback, a gimmick that seems to emphasize how the post-apocalyptic realm of Mad Max’s Wastelands can only exist in the lawless, boundless spaces of the author’s homeland, Furiosa stands as a very different beast from Fury Road.

Miller stays true to his chosen subtitle – A Mad Max Saga – and gives the film the tones of a coming-of-age tale, a saga, an Odyssey, a coming-of-age in hell that would transform a resolute little girl inhabitant of a rare, lush and hidden green oasis in the middle of the desert into the furious and ruthless warrior who would one day cross her path (even then-or again, because the coordinates of Furiosa and Fury Road intersect and dialogue constantly – in an attempt to return home) with Max Rockatansky.

Furiosa A Mad Max Saga

The reminiscences that are triggered with the earlier (or later?) film are not just mere quotations but real expansions, insights, alternative viewpoints of what Fury Road in its excitement prevented us from seeing: the world of Mad Max grows along with the body of Furiosa, a body forced to remain hidden, buried by vengeance, and almost always silent (very few of Anya Taylor Joy’s lines, who convinces in the most extreme role of his career shot at the same time as the very brief cameo in Dune: Part 2) as well as George Miller’s approach to the saga grows..

Furiosa is the ideal rendition of Fury Road. contrived by a director who has since made Three Thousand Years of Waiting (if you missed it, here is the review of Three Thousand Years of Longing), a film not surprisingly all about the value of stories and legends: here the story is that of a person’s entire life, in the same world seen in the previous film but perforce with less excitement, broader, more twilight and even anti-climactic fare.

Furiosa A Mad Max Saga 1

However, the same exorbitant visual power driven by the best possible action, that which is sufficient unto itself and can explain itself through images and gestures without having to resort to dialogue, remains. And, in the face of so much of today’s faux-feminist cinema, in the last scene Furiosa gives us an idea of revenge, generation and birth that leaves us speechless.

Matteo Regoli

critica i film, poi gli chiede scusa si occupa di cinema, e ne è costantemente occupato è convinto che nello schermo, a contare davvero, siano le immagini porta avanti con poca costanza Fatti di Cinema, blog personale

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