The nihilism of the world, of "the terminal psychotics" seems to have bled the life out of public institutions in Mad Max, leaving them as rotting monuments to a previous golden age. Max realizes, appropriately, that Fifi's comments are "crap." What his world needs is not cowboy heroes, but a functioning infrastructure; one that funds the police, trains the police, and supports the police in the battle against crime.
As critic Keith Phipps astutely intimated, Mad Max is almost a character piece, a tale of a man trying to figure out where he belongs under the rules of the New World (Dis)Order:
This is a threshold moment...
While carefully noting what he believed was Mad Max's sense of amorality, Chicago Reader film critic Dave Kehr also accurately described the film as some "of the most determinedly formalist filmmaking this side of Michael Snow."
As the film's villain, Toecutter (Hugh Keays-Byrne) notes to an underling named Johnny (Tim Burns), an act of brutal murder can be considered a "threshold moment" in terms of the human soul. That's his philosophy of life. There's no future. There's no common good. There's just the shattering of boundaries, until everything -- and everyone -- is wrecked.