So, back to Furiosa, who herself has gone on a journey from being trapped in the depths of the War Boy culture to reconnecting with her past and, like Max, relearning how to connect with people, to move beyond the instincts of survival. The Buzzards, for instance, seemingly lacking even the demented ingenuity of Immortan Joe’s rev-heads, merely scavenge the past, cannibalizing it into a shape that is feral, ungainly, and myopic. The remnants and paraphernalia of the pre-apocalypse and their use in the post- is a major cornerstone of Mad Max’s aesthetic, and even in this, there is a clear thematic distinction between how these trappings manifest between groups. The old world has passed into legend and superstition even to those who lived in it. Even people who grew to adulthood in the old world, like Max and the Vuvalini are implied to, have foggy, off-kilter memories of those times (”Everyone had a show…”), that seem more like secondhand myths than actual recollection. How long ago were these disasters? The oil shortages, the flying nukes, the water wars? Fury Road might take place two decades or two centuries after this cataclysm. Mad Max as a whole takes place in a sort of limbic time warp. Memory is a theme that is especially present in Fury Road, and yet it’s the aspect of the film’s thematic gamut that I see least discussed.
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