An exceptionally captivating, hyper textural example of postmodern spectacle. The film forgoes narrative intention; a negation of learned concepts allows it to breathe new and communicate by purely formal means.
Rapid cutting, the representation of rapid blinking, form generative montage sequences which transfix the viewer and transform the image. The result is a synesthetic cinema: the evocation of multiple senses, particularly one’s sense of touch. Sound is vibration, image is celluloid (or at least appears), and one’s sense of touch is activated through the juxtaposition of image and sound in Mad Max. From lizard squashing to chain pulling, monster truck driving, and sand grinding, one ostensibly feels a myriad of textures as one receives a hyper sensory output of pure form.
90/100 – Amazing.