But in 2015, Miller returned to the franchise that put him on the map with the Oscar-nominated ‘Mad Max: Fury Road‘, which recast the title character with Tom Hardy and introduced Charlize Theron as fan-favorite Furiosa.
In honor of the new film, Moviefone is counting down every movie that George Miller has ever directed, including his latest.
Note: For this list, we are only including Miller’s theatrical films as a director, and not his documentary ‘40,000 Years of Dreaming‘, or ‘Babe‘, which he only produced and co-wrote.
1998’s ‘Babe: Pig in the City’. Photo: Universal Pictures.
Babe, fresh from his victory in the sheepherding contest, returns to Farmer Hoggett’s farm, but after Farmer Hoggett (James Cromwell) is injured and unable to work, Babe has to go to the big city to save the farm.
2011’s ‘Happy Feet Two’. Photo: Warner Bros. Pictures.
Mumble (Elijah Wood) the penguin has a problem: his son Erik (Elizabeth Daily), who is reluctant to dance, encounters The Mighty Sven (Hank Azaria), a penguin who can fly! Things get worse for Mumble when the world is shaken by powerful forces, causing him to brings together the penguin nations and their allies to set things right.
(L to R) Susan Sarandon, Zack O’Malley Greenburg and Nick Nolte in ‘Lorenzo’s Oil’. Photo: Universal Pictures.
Augusto (Nick Nolte) and Michaela Odone (Susan Sarandon) are dealt a cruel blow by fate when their five-year-old son Lorenzo (Zack O’Malley Greenburg) is diagnosed with a rare and incurable disease. But the Odones’ persistence and faith leads to an unorthodox cure which saves their boy and re-writes medical history.
Mel Gibson in ‘Mad Max’. Photo: Roadshow Film Distributors.
In the ravaged near-future, a savage motorcycle gang rules the road. Terrorizing innocent civilians while tearing up the streets, the ruthless gang laughs in the face of a police force hell-bent on stopping them.
Jack Nicholson in ‘The Witches of Eastwick’. Photo: Warner Bros.
Three single women (Susan Sarandon, Cher and Michelle Pfeiffer) in a picturesque Rhode Island village have their wishes granted – at a cost – when a mysterious and flamboyant man (Jack Nicholson) arrives in their lives.
Mel Gibson in ‘Mad Max 2’. Photo: Roadshow Film Distributors.
Max Rockatansky (Mel Gibson) returns as the heroic loner who drives the dusty roads of a postapocalyptic Australian Outback in an unending search for gasoline. Arrayed against him and the other scraggly defendants of a fuel-depot encampment are the bizarre warriors commanded by the charismatic Lord Humungus (Kjell Nilsson), a violent leader whose scruples are as barren as the surrounding landscape.
As the world falls, young Furiosa (Anya Taylor-Joy) is snatched from the Green Place of Many Mothers into the hands of a great biker horde led by the warlord Dementus (Chris Hemsworth). Sweeping through the wasteland, they encounter the citadel presided over by Immortan Joe (Lachy Hulme). The two tyrants wage war for dominance, and Furiosa must survive many trials as she puts together the means to find her way home.
2006’s ‘Happy Feet’. Photo: Warner Bros. Pictures.
Into the world of the Emperor Penguins, who find their soul mates through song, a penguin (Elijah Wood) is born who cannot sing. But he can tap dance something fierce!
Dr Alithea Binnie (Tilda Swinton) is an academic – content with life and a creature of reason. While in Istanbul attending a conference, she happens to encounter a Djinn (Idris Elba) who offers her three wishes in exchange for his freedom. This presents two problems. First, she doubts that he is real and second, because she is a scholar of story and mythology, she knows all the cautionary tales of wishes gone wrong. The Djinn pleads his case by telling her fantastical stories of his past. Eventually she is beguiled and makes a wish that surprises them both.
Charlize Theron in ‘Mad Max: Fury Road’. Photo: Warner Bros. Pictures.
An apocalyptic story set in the furthest reaches of our planet, in a stark desert landscape where humanity is broken, and most everyone is crazed fighting for the necessities of life. Within this world exist two rebels on the run who just might be able to restore order.
Returning to the cinematic world he created, filmmaker George Miller once again delivers an exciting and thrilling adventure, which acts as both a prequel and a spinoff to ‘Fury Road’. While ‘Furiosa’ is more character driven than its predecessor it still features the same level of visually stunning action sequences, which are enhanced this time around by the character development. Both Alyla Browne and Anya Taylor-Joy give extremely strong performances as Furiosa, but it is Chris Hemsworth in his first truly great post ‘Thor’ performance as the evil yet hysterically funny biker villain, Dementus.
Beginning decades before ‘Fury Road’, the film first introduces us to a young Furiosa (Browne), who lives in a secret eutopia far away from the Wasteland called the Green Place of Many Mothers. When bikers accidentally come across their home, Furiosa bravely warns her people, but is abruptly kidnapped by the bikers and taken to their leader, the Warlord Dementus (Hemsworth). After a desperate rescue attempt by her mother (Charlee Fraser) fails, Furiosa is raised by Dementus so he can gain her trust and discover the location of her home to take it for his own.
Dementus soon sets his sights on taking over the Citadel from its leader, Immortan Joe (Lachy Hulme). But when his first attempt fails, he negotiates what he wants from Joe in exchange for Furiosa, who will be groomed as a wife to breed. After the exchange, Furiosa (now Taylor-Joy) eventually escapes and meets a transporter, or a Road Warrior if you will, named Praetorian Jack (Tom Burke). Jack agrees to teach her his ways in exchange for her help transporting goods for Immortan Joe and as time passes, she slowly becomes the character we remember from ‘Fury Road’, albeit a slightly younger version. But, when Dementus and his biker horde wage war on Immortan Joe, it gives Furiosa her chance at revenge and possibly finally returning home.
To be fair, I’ve never been a huge fan of the ‘Mad Max’ franchise. The first two films, ‘Mad Max’ and ‘Mad Max 2’ were a little too slow for me. ‘Mad Max Beyond Thunderdome’ injected more humor into the franchise and therefore was a bit more enjoyable. Miller certainly reinvented the franchise with ‘Fury Road’, which I enjoyed but not as much as most. The action was incredible and visually beautiful to watch, but the story was complicated and the characters, while interesting, were not explored or developed enough for me to ultimately care.
That is not the case with ‘Furiosa’ as Miller really takes his time to tell the title character’s backstory and develop not only her, but Hemsworth’s villain and Burke’s Jack as well. By the end of the movie, you really care about the characters and what happens to them. That only adds to the excitement of the action sequences, which in some ways are better than the last film. Miller has truly created a captivating world, and ‘Furiosa’ allows him to explore it in a way he never has before.
Miller out does himself this time with a barrage of stunning, high-octane action sequences that rival what was seen in ‘Fury Road.’ Along with his cinematographer Simon Duggan, Miller conceives grand, sweeping master shots of the desolate Wasteland while also serving up metal-crashing explosive action sequences. One such scene involves a big rig truck barreling through the desert at top speeds while being attacked by bikers and hybrid helicopter-bikes. It’s unlike anything we’ve seen before from Miller in this universe and ups the action from the previous installments.
Alyla Browne and Anya Taylor-Joy are both excellent as Furiosa and give a seamless performance together. However, it is worth noting that they equally share the role, and Taylor-Joy does not appear until the halfway mark. Once she does, her dialogue is limited, but the actress excels at expressing her emotions physically or with just a quick look. Taylor-Joy transforms into the basic character we know from ‘Fury Road’ quite well, and in the end is a dead ringer for Theron’s version. She also has great chemistry with Burke, and I’m glad they gave Furiosa an alley to relate to and care for.
But it is Browne who carries much of the film, and really builds the character for Taylor-Joy to take over. Browne creates a believably strong character and lays the groundwork for what is to come. The young actress is great opposite Hemsworth, making Furiosa and Dementus’ volatile relationship fun to watch.
While he was unarguably great in the MCU movies, Chris Hemsworth has struggled ever since to find a role that fit him quite as well as Thor. He has had some success with the ‘Extraction’ movies, but not since ‘Avengers: Endgame’ has he really been able to tap into both his physical strength and his surprising comedic abilities … until now.
Dementus is the perfect Chris Hemsworth role! It allows him to be physically imposing, over-the-top funny, and as evil as he wants to be. The actor plays the character with an evil charm and a sadistic humor but is also physically believable in his action sequences. While Browne and Taylor-Joy might be the heart of the movie, Hemsworth steals every scene he’s in and may now be the best villain in the ‘Mad Max’ franchise.
The film’s ending does beg questions about how this connects to ‘Fury Road’ and the future of the franchise, but it doesn’t take away from the emotionally affective and visually exciting theatrical experience the audience has just had. And at just over two and half hours, I can honestly say that it never felt long and kept my attention throughout.
In the end, ‘Furiosa: A Mad Max Saga’ is an exciting, action-packed, character driven film that succeeds on most levels. Director George Miller has created another visually stunning action adventure, that really takes its time to set up the characters and build on the world from the previous films. While Alyla Browne and Anya Taylor-Joy are wonderful together as the title character, Chris Hemsworth brings the action and the fun in one of his finest roles to date.
‘Furiosa: A Mad Max Saga’ receives 8.5 out of 10 stars.
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What is the plot of ‘Furiosa: A Mad Max Saga’?
Set 15 to 20 years before the events of ‘Mad Max: Fury Road’, as the world falls apart, young Furiosa (Alyla Browne) is snatched from the Green Place of Many Mothers and into the hands of a Biker Horde led by the Warlord Dementus (Chris Hemsworth). While two Tyrants war for dominance over the Citadel, an older Furiosa (Anya Taylor-Joy) survives many trials as she plots a way back home through the Wasteland.
The movie stars Oscar-winner Tilda Swinton (‘Michael Clayton’) as Alithea Binnie, a scholar that discovers a Djinn (Idris Elba) while visiting Istanbul. The genie offers Alithea three wishes, and when granted he will finally have his freedom. But with her knowledge of storytelling and history, Alithea is reluctant to take his offer and wants to know more about his past.
Moviefone recently had the chance to speak with Idris Elba and Tilda Swinton about their work on ‘Three Thousand Years of Longing,’ their characters, and working with director George Miller.
Tilda Swinton and Idris Elba star in director George Miller’s ‘Three Thousand Years of Longing.’
You can read the full interview below or click on the video player above to watch our interview with Elba and Swinton.
Moviefone: To begin with, Tilda, because of Alithea’s education and her knowledge of stories, she has a very interesting approach to dealing with meeting a genie and being granted three wishes. Could you talk about how she approaches and deals with Djinn?
Tilda Swinton: I think in the first case, when she approaches the Djinn, she’s someone who declares very early, she’s someone who finds emotion through stories. She’s totally geared to stories. She’s a reader, she reads through her fingers very fast and she remembers everything she’s ever read. She has almost a supernatural capacity with story, it’s like her medium. I think when he starts to tell her these stories, she’s with it. She feels, “I know how to do this, I know how to listen to someone else’s story.”
What she’s not prepared for is for these stories to change her. To not just draw her in because she’s used to that as well, she’s used to being absorbed in other people’s stories, but he changes her and his predicament. The predicament that he’s found himself in moves her. In a way she morphs, and I find that very touching that someone who’s set herself up to be so complete finds something really opening in her.
MF: Finally, Idris, can you talk about your approach to playing this fantastical character and the way you were able to humanize him and give a very layered performance?
Idris Elba: It was definitely part of the reason, I think for both of us, we wanted to approach this film because it offered us an opportunity to play something we may not have touched before. Tilda said, she’s often played the immortal demi-god and incredibly big characters. I’ve often played the grounded, tough guy and someone that people can try and relate to his emotions. But in this case, we both played the opposites of those characters.
My character obviously comes with some tropes. We’ve seen some version of this character in some form of storytelling before, but George, Tilda, and I were just determined to try and peel the onion back even further and see what else is there? What else could we offer?
Here we found this character, and he’s traumatized. At the junction he comes out in that space in Istanbul in that hotel room, he is traumatized. This is a traumatized being, or spiritual being. I think it was really important that the audience had a sense of that. Despite the magic, the size and the gold ears, the trauma, the human story, that was important I think for the audience to grasp onto in order for this story to work really well. I’m really thankful that people resonate with the portrayal.
To those people we say, “never underestimate George Miller”. And indeed, from the evidence of its first trailer, ‘Three Thousand Years of Longing’ is another crazed, fantastical movie that channels the likes of ‘Aladdin’ for the story of a genie and three wishes.
Miller, though, worked with his daughter, Augusta Gore, to adapt AS Byatt’s short story ‘The Djinn in the Nightingale’s Eye. ‘Longing’ follows Dr. Alithea Binnie (Swinton) an academic who is content with life (by her own admission, she’s happily alone with no siblings, widowed following the death of her husband) and a creature of reason. While in Istanbul attending a conference, she picks up a mysterious bottle at a marketplace. In the spirit of every story like this, she attempts to clean it, and releases a Djinn (Elba) who offers her three wishes in exchange for his freedom.
This presents two problems: First, she doubts that he is real and second, because she is a scholar of story and mythology, she knows all the cautionary tales of wishes gone wrong. The Djinn pleads his case by telling her fantastical stories of his past. Eventually she is beguiled and makes a wish that surprises them both…
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And if you still harbored thoughts that this would simply be Elba and Swinton sitting around clad in bathrobes in a hotel room chatting about his history, think again: Miller has conjured up an epic, effects-laden fantasy that spans time and place, recounting the various people that he has dealt with over the years.
It’s all very trippy and magical, and at times looks very intense. All anchored, of course by the experienced likes of Swinton and Elba. The cast for the movie also includes Kaan Guldur, Alyla Browne, Nicolas Mouawad, David Collins, and Angie Tricker.
Miller faced big challenges shooting this one, originally planning to bring to life the story – which journeys between the courts of the Queen of Sheba and the Ottoman rulers, the bedroom of a 19th Century Turkish slave courtesan, and all the way to present-day London – by shooting in various locations around the world. Until, of course, the pandemic put a halt to all that.
“Our intention was to shoot in Europe, London, and Istanbul. We had locations, we had all the government permits and so on,” he tells Deadline. “And then Covid hit. We were literally there in Europe, and we weren’t too far off shooting, but of course, the film was then delayed several months because of Covid, and we eventually had to relocate the whole thing to Australia.”
‘Three Thousand Years of Longing’ will make its debut at the Cannes Film Festival, which is currently going on in France. It’ll appear in theaters on August 31st.
Talking to IndieWire, the Aussie director said he’s got at least three more films planned for the franchise: “There are two stories, both involving Mad Max, and also a Furiosa story.”
What’s holding things up? Some legal troubles with Warner Bros. And once that’s over, “it seems to be pretty clear that it’s going to happen,” Miller says. Since “Fury Road” won the most Oscars of any film made in 2015 and grossed more than $378 worldwide, that seems like a slam dunk.
“Everybody was running around fearful, it seems, through three regimes,” says Miller of the situation at Warner Bros after the AT&T merger. “It was hard to get anyone’s attention, so we went to litigation. The chaos has stabilized and it’s become extremely positive as the dust seems to have settled.”
“Of all the stories there’s this one, ‘Three Thousand Years of Longing,’ I’ve wanted to tell. It’s a story in various stages of writing that had to be put aside; it’s been around almost 10 years. We’re starting pre-production before the end of the year and shooting early next year,” he told IndieWire.
But, he added, “I’ve been there too often when you announce movies are going to happen and then they fall away. It happened three times on ‘Fury Road,’ and eventually we got the damn thing made. We’re just coming out of a meeting as we speak, and we’re well into pre-production on this one. I’m cautiously optimistic. It’s going well.”
“Three Thousand Years of Longing” has just added two huge stars.
Idris Elba and Tilda Swinton are set to star in the upcoming film from writer-director George Miller, Deadline reports. Their characters haven’t been named yet, but the project is described as a fantasy romance with a genie at the center of it. The plot has largely been kept secret so far.
Elba and Swinton have each starred in a number of high-profile projects. Elba is currently shooting the Fast & Furious spinoff “Hobbs & Shaw” with Dwayne Johnson and Jason Statham, while Swinton’s latest, “Suspiria,” is supernatural horror flick that stars Dakota Johnson and Mia Goth. Elba, a Golden Globe winner, has also appeared in “Avengers: Infinity War,” “Molly’s Game,” “Beasts of No Nation,” and many more. Meanwhile, Academy Award winner Swinton’s resume includes “War Machine,” “Okja,” and “Doctor Strange,” among others.
The film’s writer-director has an impressive body of work, too. Miller was most recently behind the Oscar-nominated “Mad Max: Fury Road” (and is an out-and-out visionary) so “Three Thousand Years of Longing” is putting together quite a team.
Oh what a lovely day it will be when the next “Mad Max” movie is announced.
Tom Hardy played Max Rockatansky in “Mad Max: Fury Road,” the fourth film in the Mad Max franchise. The reboot was meant to restart the franchise, with director George Miller said to have scripts ready and waiting for “Mad Max 5” and “Mad Max 6.” A few months ago, details came out about the ugly legal battle between Miller and Warner Bros., holding up production on the new movies.
Tom Hardy was at San Diego Comic-Con over the weekend to promote “Venom,” but he also gave Variety an update on the mad wait for “Mad Max” to resume:
Tom Hardy: “It was always the plan to do three of them, so I think we’re still waiting on being given the opportunity and the green light to go ahead on the next one. But when I engaged on that there was a plethora of material on it.”
Variety: “So you’re waiting for Warner Bros. to green-light it?”
Tom Hardy: “Obviously it belongs to Warner Brothers, so it would be them who green-lit it. But a lot of projects are in radial, you know, you wait for something to land when it’s real, and as soon as it’s real we’ll jump on it.”
Yes, keep the pressure on. The court battle sounded pretty unpleasant, and it didn’t seem likely that Miller and WB would want to work together again. But money is the universal language, and if they know they can get more money out of this franchise maybe that will eventually bring them together for the next film.
After “Mad Max: Fury Road” revived the franchise in 2015, director George Miller and company started talking about follow-up projects. He’s said to have scripts ready and waiting for “Mad Max 5” and “Mad Max 6,” but it’s not clear if/when they’ll ever be made.
The Sydney Morning Herald just detailed the court battle issues at stake, between Miller’s production company — Kennedy Miller Mitchell — and studio Warner Bros.
The really interesting part of this is the idea that the franchise has stalled over $7 million.
According to Collider, a lawsuit was filed back in November when Warner Bros. refused to pay Miller, 73, a $7 million bonus for bringing “Fury Road” in under budget, at $157 million. Seven million is a lot of pennies to us, but to Miller and Warner Bros.? That’s virtually nothing. But Warner Bros. claims production pushed costs over $185 million, so Miller did go over budget, so no bonus is due. The Miller crew claim additional costs were forced on them by the studios’ own decisions and shouldn’t be included in the net cost of Miller’s movie.
The SMH report includes claims and counter-claims from both sides. They sound pissed at each other, and not exactly on the verge of working together on future sequels or spinoffs.
The Sydney paper is covering the news because of a ruling that the case should be heard in Australia, rather than in California. Warner Bros. has appealed that decision. So this fury road rolls on.
Even if money eventually exchanges hands, or this settles in some way, it doesn’t seem like this director and this studio will continue to make films together. But can the “Mad Max” movies ever move elsewhere?
Thirty-five years after it detonated on these shores (on May 21, 1982), “The Road Warrior” remains one of the greatest action films ever made.
Plus, it made an A-lister out of Mel Gibson, finally made Australian director George Miller‘s “Mad Max” franchise a success in the U.S., and influenced countless other post-apocalyptic-wasteland sagas.
The production saga behind the original “Mad Max” was nearly as wild as what wound up on screen, and the same is true of its first sequel, as you’ll see below. 1. The international success of 1979’s “Mad Max” gave Miller license to retell Max’s story the way he might have if he’d had greater resources. Miller has said he made “Road Warrior” partly to “overcome all my frustrations on the first ‘Mad Max’ because that was such a low budget — and such a tough– movie that I had all this sort of pent up energy for the story and the filmmaking.”
2. Many of the costumes came from specialty leather and fetish shops. A lot of them had cheek cutaways in the back, but it was actor Vernon Wells (who played magenta-mohawked henchman Wez) whom Gibson nicknamed “Barometer Bum” — because he could tell how cold the weather was by the color of Wells’ backside. “When my butt cheeks went purple on set,” Wells recalled, “they’d send everyone into the bus so we could warm up.” 3. The filming location was a remote Australian mining town called Broken Hill. Despite being off the beaten path, when the filmmakers staged the explosion of the refinery compound, the blast was so big that they had to alert all jetliners flying over the area and make sure all the mines were closed.
4. Guy Norris, a 21-year-old professional motorcycle daredevil, served as Gibson’s driving double, appeared on camera as marauder Bearclaw Mohawk, did motorcycle stunts for the film, and doubled for several other marauders in fight scenes. “Essentially, every character that jumped onto the tanker was me,” he said in 2015. “I’d put on a different wardrobe, jump. Then put on different wardrobe and jump again from a different position.” He doubled as Mad Max during driving scenes again, 34 years later, when Tom Hardy starred in Miller’s “Mad Max: Fury Road.” 5. Norris was one of several stuntmen seriously injured during production. On one stunt, he went flying off his motorcycle, clipped his leg on a dune buggy, and broke his femur. (The shot stayed in the film, and Norris returned to the set a couple days later for a fight scene against Gibson, with his broken leg kept out of the frame.) Stuntman Max Aspin was successfully hurled from a vehicle during a staged crash, but he insisted on a second take and broke a vertebra.
6. But the most unusual injury befell stuntman Kim Noyce on his day off. Riding his motorcycle, he stopped in the desert to greet a caravan of camels. But his motor spooked a camel, which kicked him and sent him flying. Noyce returned to the set with a broken ankle. 7. Max’s dog (above), simply named “Dog,” was adopted from a pound a day before he was set to be put to sleep. Unfortunately, he was terrified by all the roaring engines on the set, and the filmmakers had to plug his ears with cotton so that he wouldn’t ruin takes by barking — or lose control of his bladder in Max’s car.
8. No animals were harmed in the making of the film, Miller has claimed, not even the slaughtered rabbit. And while the dog’s death occurs off-screen, Miller says he’s received more complaints about shooting the pooch than about anything else in the film. 9. One more dog item: What was in that dog food can Gibson was eating from? Miller says he doesn’t think it was actually dog food, but he’s not sure.
10. Where did Emil Minty, the 8-year-old who played the Feral Kid, learn his lethal boomerang skills? Minty has said he learned to throw a boomerang from Gibson, and that the leading man also taught him how to head-butt without hurting himself. 11. The massive actor who played Lord Humungus (above) was Kjell Nilsson, a former Mr. Sweden and a weightlifter who had trained Swedish Olympic athletes.
12. Cinematographer Dean Semler found himself shooting one chase sequence while bound to the side of a truck with nothing more than bungee cords. The camera jostled so violently that Semler couldn’t hold the eye piece to his face and had to aim by instinct. Miller like the result so much that he made a point in other scenes of having Semler jostle the camera. 13. Those two guys strapped to the front of the car (above) who are seen smashing into the back of the tanker? Semler has said those were dummies with watermelons for heads — “watermelons with wigs,” he specified.
14. The filmmakers blockaded local roads during the chase, but a postal driver ignored them and crossed over, insisting that “the mail must get through.” 15. The rolling of the tanker was the film’s most dangerous stunt. Driver Dennis Williams, who had never done it before, had to pull it off in one take, and on an empty stomach. Former emergency room doctor Miller had Williams fast for 12 hours beforehand because, if things went wrong and he were to need surgery, there would be fewer complications if he had no food in his system. A helicopter and ambulance were present, but many of the cast and crew were not; they were too squeamish to watch. Fortunately, Williams executed the stunt perfectly and safely.
16. The film was released as “Mad Max 2” throughout most of the world except the United States, where the original “Mad Max” hadn’t made much of a dent at the box office. Here, it was marketed with the “Road Warrior” title as a stand-alone film. And since “Mad Max” had failed to make Gibson famous in the land of his birth, the “Road Warrior” trailer barely features him. 17. “Road Warrior” cost about $2 million to make, or about 10 times the cost of “Mad Max.” It was a hit around the world, including $24 million earned in the U.S.
18. By Miller’s count, Gibson smiles only three times throughout the film.
%Slideshow-359717%In honor of Australia Day (Jan. 26), let’s take a moment and pay homage to the great movies (and directors and actors) who’ve come our way from Down Under since the renaissance in Australian film that began four decades ago.
It’s been a lot more than “shrimp on the barbie” cliches, austere Outback landscapes, and quirky ABBA-loving city folk. Though there have been a lot of all those things as well. If you need a primer on the glories of modern Aussie cinema, you should start with these 22 essential films.