Mad Max: Fury Road: Looking for Redemption

Looking for Redemption in Mad Max: Fury Road - Literate Theology / KateRaeDavis.com // mad max redemption

Because it’s Easter season, I’m hearing a lot of sermons and seeing a lot of posts about redemption.

Which kind of drives me crazy, because I’m mostly unable to hear what these preachers and authors are trying to tell me. The whole time, I’m just thinking, Redemption, what does that really mean?

Because redemption isn’t really a familiar concept in our world, at least outside of Christian vocabulary. So I need some kind of image or metaphor, something to kind of hold onto in order to understand what this mean

And the only metaphor that comes to mind during those sermons is “redeeming” coupons. Which sends me into a whole thought process on trying to figure out that metaphor: Am I the coupon Jesus is redeeming? Is Jesus the coupon? It’s a terrible analogy, and I’m pretty certain it’s not at all what’s trying to be conveyed.

Defining “to Redeem”

So okay. The dictionary Google might be helpful here: “define to redeem.” I learn that to redeem is:

(1) to compensate for faults or sins. You’ve done something wrong, and redemption is the act of making it better, or covering over some poor behavior. The verb can be used for either the one being saved or for the one doing the saving.

(2) to repossess in exchange for payment. Most of these are financial: paying debts, clearing mortgages, those coupons I can’t get out of my mind. One financial use in this category is marked as ‘archaic,’ meaning it’s no longer in use: to buy the freedom of. To redeem a slave means to buy them so that they are no longer owned. (As an aside, it’s absurd that this use is marked as archaic when there are more slaves now than at any point in history. There are groups that buy slaves to free them, though most organizations use other methods, as giving kidnappers money sustains the demand for people being kidnapped into slavery in the first place.)

(3) to fulfill a promise. Pretty straightforward.

What Does It Matter?

The way we understand the use of “redemption” impacts the way we understand our humanity, the world, and humanity’s place in the world.

If our understanding is primarily about definition 1, covering up our mistakes, it means that we largely identify ourselves with our worst moments. We’re likely to become behavior-oriented, living our lives as a kind of social performance in which we’re trying to “pretend to be good always so that even God will be fooled,” as Kurt Vonnegut put it. This understanding puts Christ between humanity and God — as though God cannot bear to look at us and we must have Christ to “cover over” our disgusting, sinful selves.

If our understanding of redemption is primarily around definition 2, financial metaphors of debt, it has the potential to set us up for a substitutionary atonement model in which God looks at humanity, but looks at us in anger that demands some form of payment and vengeance. Perhaps a better use of this sense of redemption is one in which God throws out the accounting book — the debt is not payed, but simply cleared.

And then there’s the archaic use of this definition, in which a person is enslaved to something (drugs, alcohol, sex, money, power…) and God somehow frees the individual from their enslavement.

Finally, if our understanding is primarily about definition 3, God fulfilling a promise, we risk reducing the divine force of the cosmos to a morality that says “Keep your word.” Not that it’s a bad rule to live by, but to reduce a human being to such a rule would be diminishing — how much more so for the creator of everything.

More Complications

It strikes me that in both theology and life, these definitions often overlap; we often use the word to mean multiple senses at the same time. It gets messy. An example from google: a sinner who is “redeemed by the grace of God.” Is this in the sense of compensating for sins, or of having been freed from the bondage of a destructive way of life? Depends who you ask. Some people it’s one or the other (Google places it in the first category). For many Christians, the answer is: both.

Biblical Redemption

There’s another sense of redemption that we don’t really capture from Google’s dictionary.

In Leviticus, which was a book of law for the tribe of God, the word “redeem” is used often. It carries a sense of “restoring to the proper owner” — whether what’s being restored is land, homes, or slaves.

Let’s say you sell a field. In the year of jubilee, that field would be returned to you under the rules of redemption. The land is returned to its original (and therefore “rightful”) owner. When the land is returned to the original, rightful owner, it is redeemed.

In other words, “selling” in the levitical understanding is more similar to how we think of “leasing” today. You’re paying Honda to use the car as though it’s your own; in some senses, it’s your car, but in another sense it’s still Honda’s car. After the lease is up, the car is redeemed — returned to its original and rightful owner.

This also applied to bodies and labor. If you owed someone a ton of money, or you needed cash fast, you could sell yourself into slavery to cover the debt. But in the year of jubilee, your body and labor would be redeemed — restored to the rightful owner; yourself.

Redemption on the Fury Road

Furiosa’s (and Our) Understanding

Mad Max: Fury Road provides a really helpful narrative of how to understand biblical redemption. Oh, and here’s your SPOILER ALERT.

When Max asks Furiosa what she’s looking for, she replies: Redemption.

It’s unclear precisely what Furiosa means in her reply. Redemption is distinct from the hope that the wives seek…but we don’t know much else.

My guess is that she means it in one of the modern senses of the word. It’s safe to say that she’s “buying” (in a metaphorical sense) the freedom of the wives, and that by getting them to the Green Place she’ll be fulfilling this promise to them.

Something in Furiosa’s tone — the pained look into the distance, the despair — leads me to think that she’s relying heavily on that first definition, that she’s trying to address some wrongdoing in her own dark past. (I’ve read an interpretation that, because she’s driven to the Green Place “many times,” that she had previously kidnapped girls, maybe even the wives, to help Immortan Joe in his quest for a healthy heir.) In this sense, she is saving herself, redeeming her own life narrative; she is at once savior and saved.

Max’s (Biblical) Understanding

It is Max who introduces a levitical sense of redemption. He chases onto the salt flat to turn them around (we might say to call them to repent, if we wanted to be super technical about it).

A hundred and sixty days’ ride that way…there’s nothing but salt. At least that way [going back] you know we might be able to…together…come across some kind of redemption.

From a man of few words, in a script of few words, it strikes me that one was included here: together.

With that one word, Max turns Furiosa’s understanding of redemption to a wider narrative. He helps her look beyond her own wrong-doings to see the wider world, the entire system of oppression, of which her actions were only a small part.

With that one word, we-the-audience are able to see that what needs redeeming is not only the individual of Furiosa. What needs redeeming is not even a collection of individuals of the wives. What needs redeeming is the entire system, the whole world.

In this dystopia, humanity as a whole has become enslaved under corrupted power systems, enslaved to the hoarding of resources, the mentality of scarcity, the dehumanization of women and of outsiders. Everything needs to be redeemed, returned to its rightful owners — the water needs to be restored to the land and the people, especially to “the wretched.” The wives’ bodies need to be redeemed — we can recall the prophetic cry of Immortan Joe’s wife, “They are not your property!” Furiosa’s agency and Nux’s life must be redeemed, no longer be on behalf of a select few but for the good of all. Max’s body and blood need to be redeemed, no longer exploited as a dehumanized resource.

This is the levitical, biblical sense of redemption, requiring the participation of all for the restoration of all. The redemption is bigger than any one person, bigger than any personal salvation. It is the salvation of the whole world.

As the war boy Nux says, that “feels like hope.” And it sounds like good news.


What do you see enslaving humanity in the Mad Max world? What do you see enslaving humanity in our world? What needs to be redeemed?

Comment with your thoughts and responses below!

This post is part of a series on the theology of Mad Max: Fury Road. Find the rest of the series here.

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Mad Max: Fury Road: On the Blood, Breath, & Name

Max and Furiosa as an image of Christ and the Church - read on Literate Theology / KateRaeDavis.com

If you haven’t yet seen Mad Max: Fury Road — what are you waiting for?! Cancel your evening plans. Oh, and also, here’s your SPOILER ALERT. The scene I’ll be discussing is near the end of the film.

This post is part of a series on the theology of Mad Max: Fury Road. Find the rest of the series here.


The battle is over, the way home to the Citadel is clear, and Furiosa is dying. Max is over her, his face full of concern, attempting to diagnose and discern what she needs.

Jurisic, one of the Many Mothers, is able to tell Max what is happening. “She’s pumping air into her chest cavity. She’s collapsing her lungs one breath at a time.” Max apologizes as he stabs between her ribs to release the pressure. Jurisic again: “She’s exsanguinated. Drained all the blood.” And Max apologizes again as he connects the, as Nux called him, into a Blood Bag. And he tells her, for the first time, “Max. My name is Max.”

(If you want to watch the scene, I found it online: Max Saves Furiosa.)

I first watched this unfold in a packed, emotionally exhausted theatre as tears flooded down my face. What is it about this scene that is so impactful? And whatever that truth is, the emotional response indicates to me that it must be holding something of the divine —  what is this scene teaching us, theologically?

Cruelty & Kindness

A forced act carries an entirely different meaning than the same act freely chosen.

Early in the film, the War Boys of the Citadel force Max to become a living blood bag in a dehumanizing show of cruelty and power.

Here near the end, though, Max willingly and urgently attaches his blood stream to hers.  The same tube the empire had forced into his arm is now the very object that helps Max revive Furiosa’s life. What the empire had used for evil is now being used for good. It’s a redemptive act.

Which helps highlight, for me, how radical and subversive and grace-ful Jesus was in going to the cross. It was both moments at once. It should have been dehumanizing, and yet he did it in a way that was fully human, never losing (I like to think) his own sense of dignity and freedom.

Jesus has all the kindness and grace of Max-saving-Furiosa under the cruel circumstances of Max-saving-Nux.

An Image of Christ & the Church

The symbols at play in this scene are breath, blood, name.

Each, on its own, has an important history in the Judeo-Christian tradition. And the three are brought together in the one who breathes Spirit into and onto the Church, the one who spills blood for the church, the one named God With Us.

And then I thought that perhaps this scene could read as a sort of image or parable. In parable form, Furiosa might represent the corporate people of God, the Church. Max represents Christ. Jurisic, the Spirit.

To add some nuance: I am NOT saying that the person of Max has a one-to-one correlation to the person of Jesus. Rather, I’m saying that this relationship in this one moment can offer us a way to emotionally experience and understand that relationship in all time. It’s similar to the way that the hood-ornament moment offers an image of the crucifixion moment. I’m saying that when we have moments in which we can’t remember why Jesus’s spilled blood is good news or what it meant for Christ to breathe on us or to offer his blood for us, that the emotions we experience in this scene can help remind us, because they’re pointing to that moment.

I’m also not saying that any of this symbolism is intended by George Miller or anyone else involved in the making of Mad Max: Fury Road. It’s possible to be true to the story and for the Spirit to be at work within our human work of creating (indeed, I don’t know if there is any other way to create), as I get into in the Foundations series.

Ok. With that clarified. Here’s a reading of the “Max Saves Furiosa” scene in parable form (which is notably in the reverse of the Jesus story):

Christ is concerned for the Church. He is with her, near her, hovering over her. But to act, he seems to rely on the Spirit to tell him what the Church needs.

When the Spirit tells him that the Church needs air/wind/breath/spirit (in Hebrew and Greek, these are all conveyed with a singular word), Christ acts decisively so that the Church has the ability to receive it. (For Max, this looks like pushing a knife into her ribcage so she is able to receive air into lungs; in John 20, Christ breathes on his followers as he tells them to receive the Holy Spirit.)

Next the Spirit tells Christ that the Church is drained, that she has no life/blood within her. So Christ offers his blood. (Furiosa receives this through a tube; the Church receives it through Eucharist/Communion/Lord’s Supper.)

Finally, Christ reveals his identity. (For Max, this occurs through giving his name. For Christ, it occurs in his naming at birth and is shown in fulfillment in the resurrection.)

On the Name

A moment on Max’s name. Sometimes Max is short for Maximillian, which means “greatest.”

I like to think that this Max’s name is short for Maxwell, which means “great spring,” as in a life-giving spring of fresh water.

Which reminds me of that moment when Jesus talks with a woman at a well and refers to himself as living water.

Not to say that Max is fully the same as Jesus. But in this moment, this heightens the imagery that Max-as-life-source-for-Furiosa provide in an analogy of Jesus-as-life-source-for-the-Church (and also resolves the question: “Why tell her his name now?”).

Ascension

Jump to the very last moments of the film when Furiosa, the wives, and as many of the wretched as they can fit are crowded onto the ascending platform. Furiosa looks around and sees Max disappearing into the crowd, leaving her and the wives to do the work of re-structuring the systems of the Citadel into more sustainable ones, re-ordering the culture into one that restores the human dignity of the wretched.

It’s a reverse of how we understand ascension. In Christian tradition, Jesus is lifted into the heavens and leaves the disciples staring after him into the clouds.

Here (if we continue the metaphor), Jesus looks up as the Church ascends into the center of power structures in order to dismantle.

In John’s account, Jesus says that his followers will do greater things than he has done. I’ve never really understood what that meant, but I like the image offered in this last moment of Mad Max. Max gives breath and blood to Furiosa so that she can change the systems and redeem the Citadel. Jesus gives breath and blood to the Church so we can do likewise in our world.


This post is part of a series on the theology of Mad Max: Fury Road. Find the rest of the series here.

For discussion: Does reading this scene as an image of Christ and the Church change your understanding of Christ? the Church? their relationship? If so, how? Does it help or hinder?

 

Mad Max: Fury Road: Witness Nux

Witness Nux in Mad Max Fury Road - Literate Theology / Kate Rae Davis

SPOILER ALERT – In this post we witness Nux in the most significant 24 hours of his life. It pretty much opens with spoilers. So seriously, go watch the movie already! Then come back. I’ll be here.

Transformation

Nux may be the most drastically transformed character over the course of Mad Max: Fury Road.

We meet him as a happily indoctrinated war boy, but hours later he fully commits himself to the destruction of Immortan Joe’s empire and the overthrowing of the Citadel.

At the start of the film, his body is “battle fodder” (as the Splendid put it) in the service of the empire, but in the end he sacrifices his body in order to destroy the empirical forces.

And he’s the one character the audience sees progress through all the types of hope.

Kamakrazee War Boy

When we first meet Nux, he’s resting and connected to his “blood bag” — death is imminent. And yet, hearing of betrayal, he’s energized, determined to die for the purposes of the empire and to please Immortan Joe. He refuses to stay at the Citadel and “die soft.” “If I’m gonna die, I’m gonna die historic on the Fury Road.

We see him cheer as a pierced war boy shouts “Witness!” and jumps to his death, taking out an enemy vehicle. When a war boy dies for the purposes of the Cult of the V8 (the religion of the empire), there seems to be a tradition of witnessing. Part of what makes the death worthwhile is the memory of the way in which the death occurred, the way it benefited the empire.

When Nux goes on his own kamakrazee drive, dumping gallons of gasoline into the car and riding into the apocalyptic desert storm, he shouts to Max, “Witness me, Blood Bag!” He’s thoroughly committed to the Cult, determined to “ride eternal on the highways of Valhalla” with Immortan Joe.

Nicholas Hoult, the actor who plays Nux, says, “He’s very hyped up and running on this enthusiasm and belief that he’s destined for something great.”

Despair to Hope

That enthusiasm dissipates when he fails to kill Furiosa on behalf of Joe.

Capable finds him at the back of the War Rig, hitting his head in punishment, “He [Joe] saw it all. My own blood bag driving the rig that killed her [Angharad the Splendid].” He laments that he “should be walking with the Immorta.” “I thought I was being spared for something great.”

At that point, he aligns himself with Furiosa and the wives — not because he thinks what they’re doing is right, but because he believes himself to be exiled from the empire and faith of Immortan Joe. His very survival is dependent on getting somewhere livable with the traitors.

It’s not until Max reveals the plan to take the Citadel that Nux fully recovers from his despair, acknowledging the opposite of despair: “Feels like hope.

Eyes to See

When we first meet Nux, he’s in standard war boy makeup: blackened eyes and powder-whitened body.

By the time he claims hope, this layer has begun to fall away. The white powder has been sand-blown off; we can see that he is living flesh. The blackness around his eyes gradually clears; Nux develops clear-sightedness.

Which reminds me of another man dedicated to his religion and transformed through a shift in sight — the Apostle Paul. Saul (as he was then called) was on his own Fury Road in pursuit of traitors. The opening sentence of Acts 9 tells us that Saul was seeking permission to capture those who betrayed the religious establishment of his day. Perhaps Saul even understood himself to be anointed, shiny and chrome, for exactly the task of recovering the traitorous souls.

But Jesus appeared to Saul and struck him blind. Days later, he regains his sight, is renamed Paul, and begins championing the Christian cause. His mission began when he regained true sight.

Nux, like Paul, is an image of conversion — and, also like Paul, a martyr for the coming of the Kingdom.

Witness

They’re on the road back to the Citadel when Immortan Joe is finally defeated. Cheedo shouts back to those in the War Rig: “He’s dead! He’s dead.” For just a moment, the camera lingers in a closeup on Nux’s face. The last scales fall from his eyes.

If Immortan Joe has died, then Nux is not in exile from the true faith of the Cult of the V8. Joe will not carry him into Valhalla. Joe was not an Immorta; perhaps there are no Immorta; perhaps there is no Valhalla. The entirety of that faith is proven false, even foolish, in light of Joe’s death.

Nux is free from his religious and empirical ties, free to choose his commitments, free to act for the interest of goodness for the world rather than simply for the best interests of Joe.

Nux is free to love.

And he loves greatly. Jesus claims that there is no greater love than to lay down one’s life for one’s friends. Earlier, Nux had told Capable that he thought he was being spared for “something great,” and in this moment perhaps he realizes that he was, and that the moment of greatness has arrived, greatness for a cause he could never have imagined the day before.

Nux points to Capable, his beloved, and whispers (not shouts — no, there is no need to shout for glory when the very act contains all the glory of God) “Witness me.”

When Nux finally dies, he dies historic on the Fury Road. He was right from the very beginning. He dies historic — dies in such a way that a barrier is provided to protect his friends and to protect the hope that they will carry to the Citadel.

A day earlier, he was willing to die in hope of personal gain — glory in Valhalla, feasting with the heroes, perhaps being honored as a hero himself. Here, he dies for a hope in this world, hope for an abundance of green things and clean water for many. He dies for a hope that he knows he won’t get to participate in.

I can’t help but think that the entire film is a witness to Nux’s conversion and to his great love.

Saint Nux, who gave his life so that the world might be saved.


This post is part of a series on the theology of Mad Max: Fury Road. Find the rest of the series here.

For discussion: What other saints and martyrs do you notice in Mad Max: Fury Road? What do you think it means to witness to the life and death of another? What might need to die so that you are more free to love greatly? What are you willing to risk your life for, or to die for?

Respond in the comments below!

Mad Max: Fury Road & Competing Hopes

Mad Max: Competing Hopes - read on Literate Theology / Kate Rae Davis

This post is part of a series on the theology of Mad Max: Fury Road. Find the rest of the series here.

Mad Max: Fury Road offers a post-apocalyptic image of the future in order to push audiences to ask questions about our present. The film seems to center around hope and its role in these character’s lives. The various factions offer a couple different ways of understanding hope, highlighting the problems of each, before providing an ultimate resolution through offering a framework for a healthy way to hope.

Tunnels and Directions

Eschatology is the aspect of theology that concerns the “four last things:” death, judgment, heaven, and hell. The eschaton is shorthand for the place where we hope all this — all our prayers, policies, and parenting  — the place that we hope everything is headed.

Sometimes when talking about eschatology, theologians use the metaphor of the light at the end of the tunnel. In the tunnel metaphor, the eschaton is the light towards which we move. In Mad Max language, we could say the eschaton is the Green Place.

The metaphor we use matters — deeply — to the way we understand the world. The metaphor we us shapes our actions in the world.

The tunnel metaphor is an enclosed line, and the confines of the tunnel mean that it’s impossible to get off track. As long as we keep moving, we’ll end up at the destination. There are only two options: (1) going back to where we first came from; in scriptural language we’d say “back to Eden,” to the garden in Genesis 2, or (2) going forward to the light at the other end of the tunnel; we might say heaven or the city described in the Book of Revelations.

What’s problematic is that the tunnel metaphor allows us to believe that absolutely anything that happens — fossil fuel consumption, nuclear weaponry, murder — is all part of a linear history that God has laid down. It’s all part of the tunnel line that will eventually bring us to the light.

The metaphor offered in Mad Max: Fury Road for the eschaton is the Green Place, and they get there by “a long night’s run, headed east.” The image retains the darkness/light metaphor of the tunnel (the Green Place will be on the other side of darkness; it is associated with the coming light of dawn), and adds greenness — the color associated with vibrant life, from vegetation.

This driving metaphor solves the issue of the linear history of the tunnel metaphor. On the drive, it’s possible to get off track — they could begin to head too far north or south and miss the Green Place. They could find themselves going the wrong direction entirely, a direction that’s neither “back to Eden” nor “ahead to the City.” The driving metaphor preserves potential for missing the mark, the potential of human error.

Where is Hope Located?

The film asks us to consider where we place our hope by juxtaposing two eschatons, two places that hope can reside.

Hoping for Death

The first form of hope we see epitomized in the War Boys, especially Nux. For the first portion of the movie, Nux represents disembodied hope, meaning that arriving at this eschaton requires the loss of one’s body. The eschaton, called Valhalla (sometimes written Walhalla), is reached only through death. Early in the film, we see Nux screaming “I live. I die. I live again!” Death is the gateway to the paradisiacal afterlife.

In this theology, the individual’s arrival will be more honorable if the death happens in combat that furthers the cause of the empire. Immortan Joe tells the war boy Nux, “Return my treasures to me and I myself will carry you to the gates of Valhalla.” He anoints Nux with chrome spray and the blessing that he will “ride eternal, shiny, and chrome.”

I’ve read some commentators who were quick to interpret Nux’s disembodied hope as a parallel for Islamic extremists. Which, sure, and those similarities don’t need yet another summary. What I haven’t read much of is the parallel that Nux also represents the disembodied hope found in many religions, including some forms of Christianity.

The belief that death is more honorable if done to further the religious cause is as much a Christian belief as an Islamic one. Many early Christians died to uphold the Christian cause; we refer to them as the martyrs. And when we tell the story of martyrs, we witness to the importance of their lives and deaths.

Both religions (the Cult of the V8 and some forms of Christianity) are headed by men believed to be immortal (Immortan Joe; Jesus) who will deliver their followers to a paradisiacal afterlife (Valhalla; Heaven). Death for the sake of the leader’s teachings will lead to glory and honor after death — it is this glorious death that Nux desperately seeks.

So what’s the alternative to hoping for life after death?

Hoping for Life

The Green Place — spoilers abound from here on

We see the alternative to the War Boys’ disembodied hope in the located hope of the protagonists, and especially of the escaped breeders/wives. The wives’ eschaton is the Green Place — a located place that they can physically access in this life.

The wives have never been to the Green Place. Their hope rests on what they have been told about the place, presumably from Furiosa. Furiosa believes on the faith of a distant memory; the wives believe without seeing. And the belief is a great comfort to them; it’s in the moments they are most stressed and uncertain that one of them will repeat, “We are going to the Green Place.”

They are willing to risk everything to reach this place — even death. They are willing to die as a result of their hope, but their hope does not necessitate their death. When we locate the eschaton in this world, it instills us with a hope so compelling that we are willing to die to get there, yet death is not required to get there. That relationship between hope and death is a far cry from the War Boys, who are willing to die because they must die in order to reach their eschaton.

This is why the War Boys cheer when they watch one of their own go to his death — early in the chase, an injured man anoints himself with chrome spray, shouts “Witness me!” and jumps to his death while taking out an enemy vehicle. The War Boys shout victoriously.

But when Angharad the Splendid falls, those present are tearful. It’s not only because they were close to her — the War Boys have also lived together; they’ve probably grown up together; they are close. Their grief is a result of their hope. They know the Green Place, no matter how good it will be, will be somehow lacking without Angharad present. They grieve because she will never get to arrive at the place she had put her hope.

What the seekers of the Green Place share with other forms of Christianity is that they follow a real, flesh-and-blood person: Furiosa for the wives; Jesus for the disciples, who had no idea, when they started following him, that he would resurrect. They both look for the already existing presence of the eschaton, with their own vocabularies: the Green Place; the Kingdom of God that is within us or among us.

Repentance

When the group discovers that the Green Place has become a swamp of poisoned water, we would expect their hope to die or to shift to hope in an afterlife. And for a moment, that despairing moment when Furiosa takes off her metal hand — hands are a symbol of agency; perhaps she feels she is nothing left to be done — and she kneels in the expanse of the barren desert and she silently wails her lament — for that moment the audience and Furiosa alike are swallowed by despair. All hope is deferred.

Max tells Furiosa that “hope is a mistake.” But I think what he’s actually saying is that the headstrong hoping for something out there is a mistake. To hope that someone else has solved what their society wasn’t able to solve is a mistake.

It seems that they gather themselves in a hope-against-hope, rouse themselves to keep going east, continuing to do what they’ve been doing for the last day. Max rides after them and calls them to repent — a word that literally means to turn back.

When Max had claimed that “hope is a mistake” he added: “If you can’t fix what’s broken, you’ll go insane.” Which actually points the audience to a new sort of hope.

Hope that is not somewhere out there; that is the kind of hope that is a mistake. True hope relies on “fixing what’s broken,” mending what is fractured, fighting to restore goodness with what we have. Hope is in redeeming (“regaining possession”) of what has been used for evil. Hope must be found within us and among us.

When Max calls them to repentance, the response to the plan is clear: “Feels like hope.”

It’s Nux, newly converted, who names it so.

(Post concludes after image)

Mad Max: Fury Road and Competing Hopes - read on Literate Theology / Kate Rae Davis

True Hope: The Green Place is Within You

This is the turning point of their journey and of the film’s eschatology. In this moment, Nux — previously a subscriber to disembodied hope — converts to hope in a real place. And the women — subscribers to a hope located outside of themselves — find a resilient hope that exists in and among their own selves.

Far from the despairing lament, this type of hope is stronger than any hope they had experienced before.

This is the hope that Jesus tried to instill in his followers. Jesus repeatedly proclaimed the Kingdom of God as a present reality. Jesus proclaimed that this Kingdom is “within us” and “among us.” Hope exists within an individual and among a community. Hope likely requires real work to effect changes in the way a community structures itself — fixing what’s broken will not be easy. But we must have this resilient internal hope that the broken can be mended in order to act faithfully and step into the Kingdom of God that is both already present and not yet fully manifest.

The Green Place still exists; they carry it within them. They carry it in their imaginations and their desires. They carry it into reality in the Citadel.

Hope deferred makes the heart sick, but a desire fulfilled is the tree of life.

This post is part of a series on the theology of Mad Max: Fury Road. Find the rest of the series here.


Questions: How do you speak about your hope? Where do you locate hope? How do you tap into the Green Place within your own self?

Mad Max Christ

Mad Max Christ - read on Literate Theology / Kate Rae Davis

This post is part of a series on the theology of Mad Max: Fury Road. Find the rest of the series here.

In the opening scenes of Mad Max: Fury Road (2015), we see Max (Tom Hardy) captured by War Boys of the Citadel. A prisoner of this empire, his body is under their control. The empire enlists him into service, finding use in him as an unwilling blood donor. An IV runs directly from his vein into the arm of Nux (Nicholas Hoult), one of the many ailing War Boys. When the call comes for the boys to fight, Nux orders that his “blood bag,” Max, be chained to him so that he can drive into the battle.

And so it is that we find Max, our title hero, chained to the front of a speeding car as though he were a wooden figurehead on the prow of a Roman ship.

For most military ornamentation, the purpose is to demonstrate the wealth and power of the empire. An empire that has resources to put into unnecessary embellishment and decoration is certainly an empire with abundance, with surplus — an empire that rules enough land and manpower to produce such extravagance.

But here, in a land with few natural resources (Immortan Joe controls the people through controlling the water supply), there is no gold to be mined nor trees to be cut down for a figurehead. But what they do have is this prisoner; the Citadel shows its power through controlling Max’s body. It is impractical to do so; he’d be a much safer resource tucked behind the driver’s seat. But he’s up front, sand in his eyes, his weight a nuisance to the movement of the vehicle, so that this empire can show their might.

The empire controls the level of danger into which his body is placed. The empire controls his level of discomfort. The empire controls the pace at which his life-blood is drained from him.

In this sense, Max the Figurehead may be one of the best images our contemporary culture has of Jesus the Crucified One.

Jesus, like Max, was a prisoner of the empire. His body was used to demonstrate the empire’s control. The Roman empire used crosses the way naval ships and Nux use figureheads, as a symbol to say: We are strong enough to not only kill, but to control. We are strong enough to kill slowly, strong enough to control the blood’s slow draining.

As a culture, we have lost our disgust in response to the cross. The cross, today, is an decoration on the wall of our home, an ornamental tattoo on our shoulder, a bejeweled trinket that hangs on our necklace. We talk about finding comfort in the cross. We don’t feel any of the guttural responses the cross evoked in first century peoples living in fear of the empire. We don’t feel, in our guts, the repulsion, the deprivation, the dehumanizing cruelty that must occur in order to hang a body on a plank in the desert.

Max, the Mad One, the Holy One is here to show us: there is no comfort in the cross. This image of a man cruelly and unnecessarily hanging from the front of a speeding car, this man whose lifeblood is dripping from him, helps shape our understanding of what we are no longer able to see in the cross. This image in culture helps inform the image in religion. This image helps us to re-find–in our guts, in our disgust–the scandal of the crucifixion.

For just imagine, for a moment, that that man being used as a hood ornament is the Child of God, the Word made flesh, the hope and salvation of the world, the promised Holy One.

This post is part of a series on the theology of Mad Max: Fury Road. Find the rest of the series here.