CANY – It took Australian director George Miller a lot of time and a lot of longing to make “Three Thousand Years of Longing”, his long-awaited sequel to “Crazy Max: The Road to Rage”.

Last weekend at the Cannes Film Festival, Miller premiered “Three Thousand Years of Anxiety,” which culminated in a journey that began 20 years ago when Miller first read the story of AS Bayat, on which the film is based, “Gin in the Nightingale’s Eye.” ». ».

But only when the friction over the proceeds of the “Road of Rage” – Miller’s opera militants – opened the window, the time came “Three thousand years of sorrow.”

“After we wrote it, the question arose when to do it,” Miller said along with his stars Idris Elba and Tilda Swinton shortly before the film’s premiere in Cannes. “Actually, it was lucky. Warner Bros. on ‘The Road to Rage,’ and that meant, hey, we can bring this to the fore.”


The opening of “Three Thousand Years of Sorrow” brought most visitors to the Cannes Film Festival to the edge of their seats. What will Miller come up with this time? Can the 77-year-old filmmaker compare it to the thrilling thrill of “Crazy Max: The Road to Rage”?

This film, which Miller is preparing to watch with the prequel “Furiosa”, took place in Cannes seven years ago on the way to many Oscars, box office receipts of 374 million dollars and a place in many lists of the best centuries. .

The answer, it turns out, is a unique blend of fantasy epic and chamber drama that goes to the heart of Miller’s feelings for the story. The screenplay for the film, which MGM will release on August 31, was written by Miller and his daughter, screenwriter Augusta Gore. In it, Swinton plays a narratologist named Alythea Bini, who attends Turkey for a conference on how science has replaced mythology.

After Alythea buys an old bottle at the Grand Bazaar and washes it in the sink at the hotel, there is a gin that fulfills wishes (Elba) that fills the room. A long and heartfelt conversation ensues in which he tells her about his previous masters over the past 3,000 years. Using computer images, Miller mixes mythology and the modern world into a contemplative, comprehensive story tale that strongly believes in magic.


“There are some people who are great storytellers who can do it as a play,” Miller says. “I know I’m struggling with that. I can’t get up and tell a spontaneous story well. But I can do it in ultra-slow motion filming, where I think about every nuance of it, every rhythm. ”

Miller reunited with many of his staff on The Road to Rage, including cinematographer John Seal, editor Margaret Sixel, and composer Tom Holkenborg. But the director felt that in a sense, “Three Thousand Years of Sorrow” was an “anti-insane Max” – a speech where the “Road to Rage” was silent, spread over an era, not real time.

Reactions to “Three Thousand Years of Anxiety” have been mixed, but few have questioned its ambition or uniqueness.

And for all the eras it spans, the film comes down to the present day. The pandemic can be seen at the end of the film in scenes where background actors wear masks. The production of the film also had a drastic effect on the pandemic. Miller has moved from filming in a number of international locations to much of the film to rely on CGI and his native Australia.


“When we started talking about this film, it was very correct,” Swinton says. “But now, this year, it’s even more. And I think next will be even more. Your instinct to wind, it’s going to run and run. It’s like the grain you sow.”

According to Miller, “Three Thousand Years of Anxiety” is not only brought to the present time – it goes beyond.

“It’s a very relevant story,” says Miller. “It’s like a metal detector or a Geiger counter when something really activates. You say, “Oh, there’s a rich seam somewhere.”

“Time will tell if there will be enough things in it for other people to respond. You hope that history will become alien and belong to everyone, ”he said.


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