More to Miller than ‘Mad Max’

The Cannes veteran presents a movie about an ancient djinn and explains why it is so tangible

George Miller took a few days off from his  Mad Max world —  Mad Max: Furiosa, the next instalment of the franchise, is already in the works in the Australian outback — to showcase a film from another world. Yes, quite literally, from another world.

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Three Thousand Years of Longing, which premiered out of competition at the 75 th Cannes Film Festival, is not only a film that is intimate, meditative and contained, it proves that there is far more to Miller than the manic energy of  Mad Max.

“George told me  Three Thousand Years… will be a ‘little’ film, a chamber piece,” begins his lead actress Tilda Swinton. It indeed is, notwithstanding the presence of a djinn in the story and the magical sweep that actor Idris Elba and cinematographer John Seale lend to the telling of the story of a lonely, listless academic’s brush with a genie. Swinton describes the film as “real, precise, melodic and vivid.”

A middle-aged professor, on a trip to Istanbul, picks up a bottle called Cesm-i-Bulbul (Eye of the Nightingale) from the Grand Bazaar. It has a djinn who goes on to reveal details of the thousands of years he has spent incarcerated. In the process of granting the narratologist three wishes, the djinn brings her face to face with herself.

On the transcendent quality of the film, Miller, 77, says, “I think most stories that we tell are allegorical. They are open to interpretation depending on who is watching it.”

The mix of its  Arabian Nights vibes and the intrusions of essential contemporary themes makes the film a quirky yet measured parable for our times. “I read the novella long ago and carried it in my head all these years. It was very rich and strong. It probed a lot of things,” he explains about the A.S. Byatt story from which the film is adapted.