A Woman’s Life review – a breezy comedy of midlife crisis and same-sex affair

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Cannes film festival: Léa Drucker gives a bravura performance as a brilliant surgeon whose already chaotic life is further complicated by a same-sex affair with a journalist Charline Bourgeois-Tacquet’s new film is a hectic, garrulous, breezily agreeable comedy of midlife emotional upheaval, unencumbered by any serious or permanent concern about any of the passion and heartache that it briefly encounters. It’s also a movie that declines to allow its characters to be changed in any way by the excitements and disappointments that life has to throw at them. Léa Drucker carries off the lead with terrifically competent elan; there’s hardly a scene in which she is not interrupted by a call on her mobile, going into bravura walk-and-talk acting on the phone while on the street, arriving at the office or getting into or out of her car. She plays Gabrielle, a brilliant surgeon – what other sort is there in the movies? – who specialises in maxillofacial reconstruction. Gabrielle is battling budg...
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Streaming: Furiosa: A Mad Max Saga and the best post-apocalyptic films

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George Miller’s latest dystopian instalment follows a well-trodden end-of-the-world path, from the stark ruins of The Road to Pixar’s smartest film, WALL-E

You have to hand it to George Miller’s Mad Max franchise, now five films in: it has kept the end of the world going for the better part of half a century. A big, busy, ornately designed prequel to 2015’s delirious series peak Mad Max: Fury Road, the new-to-streaming Furiosa: A Mad Max Saga (2024) isn’t exactly meant to be cosy or comforting. It takes place in the same scorched, uninhabitable desert wasteland as its predecessors, a landscape that essentially defined the idea of a post-apocalyptic Earth in the popular imagination.

And yet it’s so familiar now as to feel almost nostalgic. Most of Furiosa’s pleasures relate to the past rather than the future. Miller has assembled another driving, visually lavish, slam-bang adventure of rising to power in a hopeless place, but its iconography abounds in callbacks to previous entries, while you can’t watch Anya Taylor-Joy’s impressively steely turn in the title role without thinking of Charlize Theron’s more hardened interpretation. The shock of the new, and the terror of the future unknown, is missing.

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