Set in one of those bizarre late-twentieth century apocalyptic futures (it released in 1979), the film is about a world on the brink of collapse, where law and order has disintegrated. Max Rockatansky (Mel Gibson) is one of the last honest police officers, a bastion of justice in a chaos-addled Australia. And the whole thing plays like a weird, psychedelic hallucination composed of low-budget filmmaking, relentless action, and a protagonist who is more a silhouette of a concept than an actual person, as he becomes vengeance incarnate, the idea of retribution given perfect shape and form.
A fourth film featuring Furiosa in the series was Mad Max: Fury Road, finally released in 2015 to critical rapture. Then, Filming commenced in 2022 on a prequel centered upon the character, and Furiosa: A Mad Max Saga (2024) just released as the latest installment in this madcap series. Furiosa: A Mad Max Saga takes the version of Max’s world presented in Mad Max: Fury Road and expands it.
Ever since The Road Warrior framed Max’s story as something like a dark fairy tale, the stories in these films have played out more like folktales told through an unhinged, drug-induced stupor. That is to say, Miller paints them with threadbare plots and intentionally bizarre iconography to heighten the archetypal characteristics and themes at play in the narrative.
At its core, Miller’s pentalogy of Mad Max films is the stuff of classic mythology. Each story reflects, as Miller himself notes, the very human struggle to find meaning, redemption, and the possibility of a better tomorrow amidst the chaos and destruction of a fallen world, making them a goldmine for the Christian cultural apologist.
This Postmodern Realities episode is a conversation with JOURNAL author Cole Burgett about his online review article, “‘Furiosa’, ‘Mad Max’, and the Modern Apocalyptic Myth" which can be read here:
www.equip.org/articles/furios...
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