often a "dead end", with the journey being more about "inward-looking" exploration than reaching the intended location. In Australia, road movies have been called a "complex metaphor" which refers to the country's history, current situation, and to anxieties about the future. The Mad Max films, including Mad Max, The Road Warrior and Mad Max Beyond Thunderdome, "have become canonical for their dystopic reinvention of the outback as a post-human wasteland where survival depends upon manic driving skills". Other Australian road movies include Peter Weir's The Cars That Ate Paris (1974), about a small town where the inhabitants cause road accidents to salvage the vehicles; the biker film Stone (1974) by Sandy Harbutt, about a biker gang who witness a political cover-up murder; The (1981) thriller Roadgames by Richard Franklin, about a truck driver who tracks down a serial killer in the Australian outback; Dead-end Drive-in (1986) by Brian Trenchard-Smith, about a dystopian future where drive-in theatres are turned into detention centres; Metal Skin (1994) by Geoffrey Wright about a street racer; and Kiss or Kill (1997) by Bill Bennett, a film noir-style road movie. The Adventures of Priscilla, Queen of the Desert (1994) has been called a "watershed gay road movie that addresses diversity in Australia". Walkabout (1971), Backroads (1977), and Rabbit-Proof Fence (2002) use a depiction of travelling through the Australian outback to address the issue of relations between white and Indigenous people. In 2005, Fiona Probyn described a subgenre of road movies about Indigenous Australians that she called "No Road" movies, in that they typically do not show a vehicle travelling on an asphalt road; instead, these films depict travel on a trail, often with Indigenous trackers being shown using their tracking abilities to discern hard-to-detect clues on the trail. With the increasing depiction of racial minorities in Australian road movies, the "No Road" subgenre has also been associated with Asian-Australian films that depict travel using routes other than roads (e.g., the 2010 film Mother Fish, which depicts travel over water as it tells the story of the boat people refugees). The iconography of car crashes in many Australian road movies (particularly the Mad Max series) has been called a symbol of white-Indigenous violence, a rupture point in the narrative which erases and forgets the history of this violence. Canada Canada also has huge expanses of territory, which make the road movie also common in that country, where