Sirât

"Sirât" is my this years favourite, for sure. It's not good just because of the seemingly usual road trip story but also because of the music, the power, the atmosphere, the characters - it's literally an audiovisual masterpiece!!

I haven't seen much movies with this kind of hold on me. It guides you to all the characters and when you least expect it, it let's go of your hand. The whole cinema in Cannes was on edge while watching this movie. And for a good reason.

It brings up a wide range of emotions and themes which give room for so many different shades of feelings for every person that experiences this movie.

This is a really great music video with awful dialogues. Like, honesty, if this was mute I'd give it a 9/10. But if you're a native Spanish speaker it just feels so fake. Like, why are the French people speaking Spanish among themselves? The text is redundant, it's just repeating what you see on the screen, it lacks depth, the Spanish deliveries on native Spanish actors are awful. They just sound super fake.

I mean, I really made an effort to like the movie, the music was a banger, cinematography and costume design were spot on, the side characters were awesome too. But I would just get so thrown off by the dialogues that I'd loose the immersion. And it sucks.

SIRAT

An excellent film which metaphorizes our deepest feelings, a road movie of a man with his son in search of the man's daughter and the son's sister.

A very impressive cinematography: the profound landscape, as a character, probably the most important character of the film. One feels the Nature, as a superior intelligence. We are all here with the same destiny.

There are at least 3 turning points, three important plot points, one of them in the middle of the film. The middle of the second act.

We will explode watching a picture which reminds us of "Zabriskie Point" by Michelangelo Antonioni or maybe "Fata Morgana" by Werner Herzog.

We all live in the same train.

Nice movie!

Mehdi Salehi Film Critic - Editor-in-Chief of "Green Smile" News Website (Iran(

Oliver Laxe's fourth feature film, Sirât, marks not only his brilliant debut in the Cannes Film Festival's main competition but also stands as his boldest and most evolved work to date. This Spanish-French co-production traces a surreal, profoundly existential journey through Morocco's harsh yet majestic desert landscapes-a work that challenges cinematic conventions while confronting viewers with fundamental questions about life, death, hope, and civilizational collapse.

Synopsis and Narrative Structure Luis (masterfully portrayed by Sergi López) and his teenage son Esteban (Bruno Núñez) search for their missing daughter/sister "Mar" at an illegal rave deep in the Moroccan desert. When military forces abruptly shut down the gathering amid apocalyptic warnings of global war, they join a band of nomadic ravers-Jade (Jade Oaked), Tonin (Tonin Janvier), Bigoey (Richard Blamy), Steffi (Stefania Gadda), and Josh (Joshua Liam Henderson)-who seek another rave further into the desert where Mar might be found.

The film's first half unfolds at a measured pace, blending dark comedy and drama as human connections form within this makeshift "family." A devastating mid-film turning point-a catastrophic accident and its aftermath-shatters this equilibrium. From here, *Sirât* descends into darker existential and allegorical territory, where characters confront death, madness, and societal ruin while grappling for survival.

Artistic Mastery

• Direction & Suspense: Laxe demonstrates masterful control of space, rhythm, and tension, expanding the suspense techniques of his 2019 film Fire Will Come on a grander scale. His ability to sustain escalating dread despite radical tonal/genre shifts culminates in a simultaneously absurd and harrowing climax.

• Cinematography: Mauro Herce's lens captures Morocco's deserts (and Spanish stand-ins) with breathtaking yet menacing beauty. Wide shots, harsh natural lighting, and Super 16mm textures shine in scenes like the speaker-setup under ochre cliffs and the convoy's nocturnal journey.

• Sound & Music: Kangding Ray's bass-driven electronic score-Cannes' 2025 Best Soundtrack winner-anchors the film like a pounding heartbeat, mirroring rave euphoria and the characters' spiral into delirium. Laia Casanova's sound design layers ambient desert noise (wind, sand, engine roars) into an immersive sonic tapestry.

• Performances: López delivers a physically expressive, quietly commanding turn as Luis. Non-professional actors (often sharing their characters' names) authentically embody sun-scorched, marginalized resilience, with Blamy and Oaked standing out. Núñez radiates fragile innocence as Esteban.

Themes and Symbolism

• The "Sirât" Bridge: The title references the razor-thin Islamic bridge between paradise and hell-a metaphor for characters navigating hope/despair, sanity/madness, and civilization/barbarism.

• Existential Quest: Luis' search for Mar evolves into a struggle for meaning and belonging in a collapsing world. The film poses unanswerable questions: What remains when we lose everything? Animal instinct? Angelic grace? Human dignity?

• Apocalypse as Allegory: The war-torn backdrop mirrors modern instability and refugee crises, with the group's perilous journey evoking migrants' desperate quests for safety.

• Collectivism vs. Chaos :The ravers represent a post-apocalyptic micro-utopia built on communal joy-a vision both seductive and fragile against external and internal chaos.

Narrative Audacity and Flaws The film's radical mid-point genre shift-from road drama to existential horror-shocks viewers into recontextualizing all prior events. While this narrative gamble showcases Laxe's confidence, it also exposes weaknesses: 1. Third-Act Disjointedness: Focus on allegory overshadows plot coherence, sidelining Mar's storyline.

2. Exhausting Violence: Relentless tragedy in the second half risks numbing viewers and veering into exploitation.

3. Underdeveloped Characters: Prioritizing atmosphere over psychology leaves motivations unexplored.

4. Problematic Gaze: Portrayals of Morocco occasionally echo colonial perspectives despite Laxe's familiarity with the region.

5. Unsatisfying Closure: The ambiguous, bleak ending may frustrate mainstream audiences.

Legacy and Significance Sirât epitomizes Laxe's signature style-poetic realism, social-existential themes, non-professional actors, and audacious formal experimentation. Technically superior to earlier works like »You All Are Captains (2010)«, »Mimosas (2016)«, and »Fire Will Come (2019)«, it solidifies his artistic maturity. As Laxe himself notes, this is his most politically radical work: a ruthless deconstruction of societal collapse, human violence, and migration crises through narrative subversion.

Blending European arthouse sensibilities with road-movie grit, apocalyptic tension, electronic energy, and Hollywood-esque thrills (Mad Max, Sorcerer), Sirât carves a distinct cinematic identity. Its haunting power lingers long after the credits-an uncompromising demand to confront darkness through unfiltered vision.

Footnotes Existentialism*: A philosophy emphasizing individual existence, absolute freedom, and personal responsibility. It posits that humans define their essence through choices in an inherently meaningless world, embracing anxiety to live authentically.

Raves*: Underground parties organized by DJs requiring personal referrals. Attendees pay entry fees, and recreational drug use is prevalent.