Furiosa + text posts
Max
Aqua Utopia|海の底で記憶を紡ぐ
tumblr dot com

JBB: An Artblog!

if i look back, i am lost
KIROKAZE

shark vs the universe
YOU ARE THE REASON
taylor price

No title available
I'd rather be in outer space 🛸
h
Cosmic Funnies
Jules of Nature

izzy's playlists!
ojovivo

titsay
Three Goblin Art
todays bird

@theartofmadeline

Discoholic 🪩

seen from Netherlands

seen from United States

seen from Algeria
seen from United States

seen from Malaysia

seen from United States
seen from Austria

seen from United States
seen from India

seen from United States

seen from United States

seen from United States

seen from United States
seen from United States

seen from United States

seen from Venezuela
seen from United States
seen from Chile

seen from Germany
seen from United States
@madmaxroadwarrior
Furiosa + text posts
Max
Mad Max: Fury Road + Onion Headlines Part 3 (1, 2)
theory: the rest of the world in the Mad Max universe is totally fine and Australia just did that
one lone wastelander manages to sail to new zealand only to find out everything there’s just like… normal
“how did you all manage to survive?”
“survive?”
“the nuclear war??”
“the what”
“Mad Max’s women are part of the tradition of the feminine desert, rather than the masculine.
[…]
Much of Fury Road’s action visuals rest heavily on the masculine desert and what can be done to conquer it: spiky scavengers, souped-up war buggies, and rock bikes try to turn the desert into a road. But the feminine desert is something else; there’s a spark of that secret impossible in Furiosa, who straddles both worlds, and whose driving seems supernaturally assisted. The sandstorm appears as if summoned; the camera itself treats its sudden, impossible scope as a reveal, pulling back after Rictus’ exclamation, and seeing what the desert abruptly made for a woman who needs it. When the first Vuvalinas come out to meet the war rig crew, their motorcycles rise out of the sand nearly in plain sight, as if they’re made from it. And though for the War Boys, violent death ensues if the front of their cars ever hit the sand, when the war rig’s engines are set alight, Furiosa lowers the vehicle’s grill, and the desert blooms up to put out the fire as if waking to save a friend.”
— The feminine desert of Mad Max: Fury Road by Genevieve Valentine
furiosa + some dude in the side window
Okay, but look at how the framing is almost identical between #2/#3 and #1/#4. Max is literal replace-Ace.
Also, how closed-off her expression is in the Ace gifs and how visible her worry and exhaustion are in the Max gifs.
Also also, these are both moments from the beginnings of major road battles: the one in the first act and the one in the third act.
John Seale: I don’t know why they bothered having me out there…
Right mate.
“Max is literal replace-Ace.” !!!!
This fucking movie.
Ok I was thinking about this some more since I reblogged it earlier, especially fuckyeahisawthat’s comments about the deadness of her expression in #2 as compared to #3.
In #2 she’s Imperator Furiosa. She’s got a crew that she leads, who will defend her and follow her orders, but she’s still separate from them and all alone in that cab. On the other hand, in #3 she’s surrounded by people. She’s still a leader, they’ll still all protect and defend her and she’s still their leader but now she’s (I think) most like herself, or at least the self she knew. Now she’s Our Furiosa.
I wanna add, even if she wasn’t separate from them before, if there was a time when Imperator Furiosa was one with her crew (and Ace’s behaviour seems to suggest so), by the time the movie start she’s chosen to leave them all behind. There is a rift between her and her crew that’s not just the result of the loneliness of leadership, it’s also the loneliness of a renegade.
And we could go on with how her new crew are led by her but lose none of their individuality and rights. It was always a joint effort- Angharad had a lot to say in how their escape progressed. The Vuvalini, Max, the Five, even Nux had a say in their further plans. The communication is different. Probably because they are all fighting for their safety and survival (as individuals and as a group at once) instead of fighting for the wealth of the warlord who enslaved them.
Looking at these and thinking about her facial expressions when Max proposes they turn back to the Citadel:
She left Citadel, headed out for the Green Place, thinking that would be her last mission. She would find the Many Mothers and join their way of life and she wouldn’t have to take charge anymore. There would be no more difficult decisions for her.
When she agrees to go back, she’s taking on the responsibility of another mission. No one else knows the Warboys like she does. No one else knows Joe like she does. Even though everyone is behind her, in the end, it’s all on her.
I don’t know where I was going with this …
Oh, what a day… what a lovely day!
Mad Max: Fury Road (2015) dir. George Miller
I am struck, every time, by the fact that we watched Max, protagonist, point of view character, in the opening sequence get run down and branded.
Then are re-introduced to the brand, as it exists on a leader to the very same people that we just saw capture Max.
And it is THIS framework that, even though she has all the potential trappings of an ‘enemy’, you immediately know who Furiosa IS. That, when she turns off the road, you know why, emotionally, even though you don’t have all the details.
Even though there’s barely any dialogue.
Precious Dag and her utter lack of upper body strength
also starring: Max’s fucking facial expressions
Max is like, Wait, why am I being scared of a group of waifs with no upper body strength, and then two seconds later Furiosa runs up and wallops him while the Wives drag him around by his chain leash it is beautiful
she may have no upper body strength, but while i was watching, i felt like she was stalling so furiosa could safely turn him into a wet smear while he was distracted by her struggles.
The Dag was totally stalling. Notice how, moments before, she clipped Cheedo’s chastity belt off, no problem. Here, she twists Max’s chain down and back so that his head moves that direction, too. Notice, also, how she’s turning her head towards Furiosa in the last gif.
She knows exactly what she’s doing.
yep yep yep yep yep. both dag and splendid know exactly what they are doing. dag takes her sweet ass time and breaks max’s concentration while splendid stands right in his eyeline so he can’t see furiosa until it’s too late.
also at this point max is so traumatized and fucked up he’d be scared of his own shadow. i don’t think he ever considers them anything but a threat.
sly Dag.
Mad Max (1979)
Vehicles at Wasteland Weekend
there’s a mad max reference in a manga about moe girls who ride motorcycles
Studio Time with Junkie XL, episode 4: Mad Max Drums
WITNESS
Happy 70th Birthday to Hugh “Daddy” Keays-Byrne !
Hugh Keays-Byrne demanded everyone call him Daddy on set of “Mad Max : Fury Road”
Fury Road Mad Max Interceptor
1974 XB Ford Falcon Coupe
© john platt
Me at the beginning of 2016 vs me at the end