It is appropriate, as a preamble, to silence the bad reviews which would a priori judge this Furiosa: a Mad Max saga as an opportunistic object owed its existence only to the success of Fury Road. Nothing is less true since from the first images of the latter revealed, George Miller sang the praises of a much larger universe which only asked to be expressed on the screen, in one way or another. other. The Australian director and screenwriter had just set foot in his Wasteland again and he seemed to have regained a taste for sand, ashes and asphalt.
Several changes of direction and (temporary?) hibernation later, it is therefore an opus serving as a direct prequel to Fury Road which gives birth to the Mad Max saga. First part without the presence of the one to whom the franchise owes its name, as if to confirm the passing of the baton between Max Rockatansky and Furiosa which we witnessed in the previous part. The character then played by Charlize Theron was the real driving force of the film and it is quite natural that this new piece in the machine is dedicated to her.
![Fu8](https://www.journaldugeek.com/app/uploads/2024/05/fu8.jpg)
We discover a young Furiosa, a child of the Green Earth snatched from her family by the men of Dementus, a pushy leader of men ready for anything. She will soon be placed in the hands of Immortan Joe and she will have to make her way with her own hands to survive this apocalyptic world and the madmen who rule it, while seeking to accomplish her goal: revenge. and go home.
![Fu7](https://www.journaldugeek.com/app/uploads/2024/05/fu7.jpg)
Those who are looking for a Fury Road 2 in Furiosa: a Mad Max saga can already return their expectations to the locker room. If this prequel touches its predecessor several times, notably during an impressive convoy attack sequence or by the always euphoric presence of the scores of Junkie XL, it intends to quickly mark its difference. As if to counter the easy opinions that have too simply compared Fury Road to a race in the desert, this Furiosa puts its narrative in the foreground, revealing a road with multiple forks.
![Fu11](https://www.journaldugeek.com/app/uploads/2024/05/fu11.jpg)
Nine years of waiting for you
On the one hand, there is an origin story around a character brilliantly played by Alyla Browne first, and Anya Taylor-Joy second. The actress, whose growing popularity goes hand in hand with a well-chosen filmography, manages to inhabit the rage of the heroine while giving extra flesh to each of her features, like a silence that is sometimes much more murderer than his actions. Furiosa is as close to Max in her fury as she is distant from him in a desire not to let herself be completely invaded by the despair and nihilism that inhabit these desolate lands. Where Max is a ghost seeking a kind of redemption, Furiosa is full of life, she embodies a form of hope.
![Fu2](https://www.journaldugeek.com/app/uploads/2024/05/fu2.jpg)
Opposite, Miller has the brilliant idea of entrusting the clothes of the villain on duty to an unrecognizable Chris Hemsworth. In an unsuitable role (except for those who have seen Bad Times at the El Royale), the actor flirts with overacting and histrionics to offer us an imperial Dementus, the ultimate personification of the worst that Wasteland can produce . Between reason and madness, man has taken the opposite direction from Furiosa, allowing himself to be affected more and more every day by the madness of this world. Miller almost intends to place him as a sacrificial lamb to the Gods of this new world, whose spirit will come crashing down against the wall of reality. White savior, red conqueror, black lord… he is the corrupt madman, the one who has lost everything except a teddy bear reminding him of who he was. Immortan Joe is a survivor of the Apocalypse, Dementus is a victim.
![Fu4](https://www.journaldugeek.com/app/uploads/2024/05/fu4.jpg)
And if Miller intends to tell the story of his central figures, there is in Furiosa a reminder of his formidable 3000 years of waiting by placing his taste for history and legends on the same level of importance. The film is not simply a new testimony to the madness of Westeland, it tells its history, its mythology. The director uses processes specific to tales with division into chapters or the use of a narrator to blur the line between facts and fiction.
![Fu6](https://www.journaldugeek.com/app/uploads/2024/05/fu6.jpg)
Far from being just a marketing tool, the subtitle “a Mad Max saga” is indicative of Miller’s intention; that of placing us before a chapter of a History much larger, richer than Furiosa or Max. A chapter less focused on action – which nevertheless does not lack it -, as if to tell us that these clashes are only a grain of sand, only a cog in the machine. A desire that we find symbolized by ellipses that are sometimes unexpected, even a bit frustrating, it must be admitted.
Furiosa Fury Road
But let’s be reassured, if Furiosa: A Mad Max Saga leaves more space for its story, ultimately more reminiscent of Mad Max 2 than Fury Road, Miller remains a formidable maker of a great spectacle as soon as he presses the pedal. Although a few green backgrounds slightly detract from the general appearance, we are treated to a new demonstration of sound and fury by a man who has become a master in the matter. As usual, nothing is free and Miller ensures that each action sequence widens our retinas as much as it serves the development of those who experience it.
![Fu5](https://www.journaldugeek.com/app/uploads/2024/05/fu5.jpg)
Especially since Miller does not want to play the repetition and if Thunderdome there is not, he transports his conflict within these enormous “bases” which we heard about previously without seeing them. New playgrounds that allow the director to imagine new ways to explode everything with a camera that allows itself more madness by focusing on action on several levels. Here again, a small reminder of Mad Max 2, the filmmaker finds, for example, a new, not guilty pleasure in using the air as a space conducive to new madness.
![Fu12](https://www.journaldugeek.com/app/uploads/2024/05/fu12.jpg)
Furiosa: a Mad Max saga renews nothing while rewriting itself before our eyes. It functions as much as a reminder of what this license, which belongs more than ever to the pen and talent of George Miller, brings to big spectacle cinema. If films like Terminator 2 could redefine the notion of a sequel, this one gives its credentials to that of a prequel. And even if we recognize some lengths – the footage is the longest in the franchise – it is nothing compared to what he still manages to accomplish. Miller imposed his rate: a slap per decade.
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