Coming Soon
FURIOSA: A MAD MAX SAGA
2024
Director
George Miller
Starring
Anya Taylor-Joy
Chris Hemsworth
Tom Burke
Runtime
148 minutes
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Long before Max Rockatansky fought, crashed, and exploded his way across the Fury Road, a young girl was stolen from her home and thrown into a world of fire and blood. Her name – FURIOSA! Welcome back to George Miller’s increasingly strange odyssey of pillagers, savages, and the hesitant heroes at the end of the world.
This movie’s box office failure is a textbook example of ‘The World Was Wrong.’ But FURIOSA doesn’t really behave like the other Mad Max movies, because it isn’t primarily driven by an unrelenting forward momentum of action set-pieces. There are certainly incredibly expressive, nearly avant-garde moments of kineticism to be found here, but FURIOSA is a largely wordless picture, overwhelmed with Eisenstein-ian montage between characters and places spread about the awful wasteland. It's one of the most idiosyncratic prequels ever made.
“Miller’s consciousness behaves like Nostradamus, who has seen his visions of the end, and must now warn us that the future will not be epic, but besotted with disease, decay, and desolation. It’s not that FURIOSA isn’t an exhilarating film, but that the baggage of the apocalypse is inherent in what feels like every frame. And god, these frames are beautiful. Miller has always been a painter, but here he has become a silent film technician. He has sculpted a fantasia in his nocturnal sequences featuring floating heads of the new world monsters engorged in a starless sky. At day, he has placed his camera on the ground and filmed the sky like an ocean spilling atop his characters, but all that’s here is the hateful sun, and there’s nowhere to hide from its blistering rays. In the nooks and crannies of the underground, his camera tracks inside untold labyrinths of mole women running experiments on larvae in wounded flesh. Is this our world? Miller seems to believe that when everything falls we will still be a people of tribes and borders held together with thin lines of bureaucracy, and plenty will be left to die. Men will transform into bikers. Women into witches. A new binary for the last age.” - Willow Maclay
This movie’s box office failure is a textbook example of ‘The World Was Wrong.’ But FURIOSA doesn’t really behave like the other Mad Max movies, because it isn’t primarily driven by an unrelenting forward momentum of action set-pieces. There are certainly incredibly expressive, nearly avant-garde moments of kineticism to be found here, but FURIOSA is a largely wordless picture, overwhelmed with Eisenstein-ian montage between characters and places spread about the awful wasteland. It's one of the most idiosyncratic prequels ever made.
“Miller’s consciousness behaves like Nostradamus, who has seen his visions of the end, and must now warn us that the future will not be epic, but besotted with disease, decay, and desolation. It’s not that FURIOSA isn’t an exhilarating film, but that the baggage of the apocalypse is inherent in what feels like every frame. And god, these frames are beautiful. Miller has always been a painter, but here he has become a silent film technician. He has sculpted a fantasia in his nocturnal sequences featuring floating heads of the new world monsters engorged in a starless sky. At day, he has placed his camera on the ground and filmed the sky like an ocean spilling atop his characters, but all that’s here is the hateful sun, and there’s nowhere to hide from its blistering rays. In the nooks and crannies of the underground, his camera tracks inside untold labyrinths of mole women running experiments on larvae in wounded flesh. Is this our world? Miller seems to believe that when everything falls we will still be a people of tribes and borders held together with thin lines of bureaucracy, and plenty will be left to die. Men will transform into bikers. Women into witches. A new binary for the last age.” - Willow Maclay