Three Thousand Years of Longing

While Three Thousand Years of Longing never reaches that film’s mastery or poignancy, the expansive, bold paint-strokes of Miller’s passionate world-creation is still singular to behold.

Visually rich and thematically dense, Three Thousand Years of Longing muses on romance and possession, as well as the slow death of mythology and folklore at the hands of science and capitalism.

A feast for the head and the heart and the eyes.

Rhythm is essential when talking about Miller. Three Thousand Years certainly isn’t the intricate symphony of chaos that Fury Road was, but there’s an underlying musicality that glides it along.

Where Mad Max: Fury Road was lean, Three Thousand Years of Longing feels like a rough draft that should have stayed in a dusty bin somewhere in the middle of a tourist shop.

There’s something rather sterile and bloodless in the film’s approach, with its synthetic and soul-sappingly clean-looking CGI. Plus there’s the palpable lack of chemistry between the leads...

George Miller creates a thrilling mosaic of stories where reality and fantasy become one.

Three Thousand Years of Longing is equal parts ambitious, fascinating and messy.

The stories that the Djinn tells are lovely, but the movie really lands in the second half when things get slightly more normal.

The George Miller directorial, with its splendid imagery and sound so reminiscent of Baz Luhrmann’s Red Curtain trilogy and early Tarsem Singh, is the right kind of narrative to lose oneself in.