George Miller’s Furiosa: A Mad Max Saga is a roaring, diesel-fueled symphony of chaos and beauty that reminds us why his post-apocalyptic visions are so utterly captivating. Serving as a prequel to 2015’s Mad Max: Fury Road, this film steps back in time to chart the rise of its titular heroine, played with steely ferocity by Anya Taylor-Joy. While it may lack the relentless, unbroken energy of its predecessor, Furiosa carves out its own niche as a character-driven odyssey in a world gone mad.
The story begins in the ashes of a broken civilisation, where Furiosa is torn from her family and thrust into the brutal hierarchy of the Warlord Dementus, played with unsettling charm by Chris Hemsworth. What Hemsworth achieves here is remarkable—he’s not just a villain but a force of nature, embodying the seductive appeal of unchecked power. The journey that unfolds, both literal and emotional, is as much about survival as it is about reclaiming humanity in a place that has all but lost it.
Miller, a director who treats action sequences as if they were ballet, once again demonstrates his mastery of visual storytelling. The vehicular carnage—an elaborate dance of fire, metal, and blood—is breathtakingly choreographed, shot with such clarity that it feels like you’re in the middle of the desert, choking on dust. The practical effects are front and centre, a refreshing defiance of the CGI overload plaguing many modern blockbusters. Just love the practical effects that are being used in the Mad Max movies.
Where Fury Road barreled forward like a fever dream, Furiosa takes a moment to pause and reflect. It delves deeper into the psyche of its protagonist, showing us the scars beneath her warrior façade. Taylor-Joy imbues Furiosa with a raw vulnerability that contrasts sharply with Charlize Theron’s portrayal. Her Furiosa is not yet the battle-hardened figure we know, but a young woman navigating loss and trauma in a world that punishes any sign of weakness.
That said, the film’s slower pace and emphasis on character development may not resonate with those expecting non-stop mayhem. At times, the narrative feels like it’s treading water, and the quieter moments, while thematically rich, occasionally rob the film of its momentum. The screenplay, penned by Miller and Nico Lathouris, flirts with deeper themes of identity, belonging, and rebellion, but it doesn’t always tie these threads together as cohesively as one might hope. During the writing process for Fury Road in 2011, Miller found that they had enough story material for two additional scripts. Miller told Wired in May 2015 that if the film became successful, he would tell the other two stories.
The supporting cast delivers solid performances, with Tom Burke offering a nuanced turn as a mysterious wanderer who crosses paths with Furiosa. The score by Junkie XL is once again a triumph, mixing primal rhythms with mournful melodies, reflecting the duality of a world both savage and strangely beautiful.
Furiosa may not match the groundbreaking brilliance of Fury Road, but it doesn’t need to. This is a different beast, a more introspective tale that expands the Mad Max universe while staying true to its anarchic spirit. It’s a film that trusts its audience to sit with its quieter moments, to see the humanity amidst the carnage, and to find hope in a place where hope seems impossible.
For those willing to embrace its slightly uneven journey, Furiosa offers a thrilling, moving experience. It’s a story of survival, vengeance, and redemption, told with George Miller’s signature mix of chaos and artistry. And when the engines roar and the dust rises, it’s impossible not to feel exhilarated.
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I liked Furiosa, despite it being a sizable step down from Fury Road. However, it’s not at all in defiance of CGI, but instead much more heavily reliant on it than its predecessor (even Furiosa’s face is a CGI blend of Alyla & Anya’s). Also, Tom Burke’s character is not a «mysterious wanderer»: he’s a fixture of the citadel before Furiosa arrives there, and he’s something of an open book to Furiosa whereas she and her «map of secrets» are mysterious to him.