The first full shot we get of the escaping women shows them standing tall against a gorgeous sun-blasted horizon, wearing white muslin bikinis and other resort-wear, and looking exactly like supermodels posing for a Vogue shoot in the deserts of Namibia. Regardless of where one stands on Ensler’s feminist cred, I couldn’t see any evidence in the film of her consciousness-raising sessions. I don’t even know how Eve Ensler imagined a vocabulary or a language for these experiences that she hasn’t had. I didn’t truly understand how Eve Ensler could imagine what it might be like to be a Bosnian woman during ethnic cleansing or a woman during the reign of the Taliban in Afghanistan. Though she does important work with women trauma survivors internationally, she’s also inclined to speak for them in dubious ways, as Tahira Khalid points out in her essay “Eve Ensler and the Inauthentic Monologue”: It should be noted that Eve Ensler isn’t exactly a universally acceptable choice as a model feminist. (When the desperate, ragged desert populace lines up for the ceremonial dispensing of water, all I could think was that the feature cartoon Rango did that scene a lot better.) Evil skull-masked overlord Immortan Joe (Hugh Keays-Byrne) rules The Citadel, a grim fortress built into red rock, where he holds a group of women captive as “breeders.” Led by Joe’s top truck driver, Furiosa (Charlize Theron), and aided by Max (Tom Hardy), the women escape, kicking off two hours of car chase.Įnsler was assigned to help the actors playing the women to better understand the experience of rape and captivity suffered by untold thousands of women who’ve survived war, sex slavery and epidemic levels of domestic violence worldwide. It tries so hard to be dystopian it achieves inadvertent comedy instead. This isn’t necessarily a bad premise, but it’s hammy as hell, with skull motifs festooning everything. To this end, Fury Road opens on a future-world that has regressed to a state of violent primitive patriarchy. Eve Ensler, the author of The Vagina Monologues, was hired by director George Miller to serve as a consultant, and she vouches for it: “I think George Miller is a feminist, and he made a feminist action film.” This is the Trojan Horse feminists and Hollywood leftists will use to (vainly) insist on the trope women are equal to men in all things, including physique, strength, and logic.Īpparently, there’s a factual basis for claiming that Mad Max: Fury Road was designed to be a feminist film.
This is the vehicle by which they are guaranteed to force a lecture on feminism down your throat. It looks like that action guy flick we’ve desperately been waiting for where it is one man with principles, standing against many with none.īut let us be clear. I’m angry about the extents Hollywood and the director of Fury Road went to trick me and other men into seeing this movie. The first full shot we get of the escaping women shows them standing tall against a gorgeous sun-blasted horizon, wearing white muslin bikinis and other resort-wear, and looking exactly like supermodels posing for a Vogue shoot in the deserts of Namibia.