Sirāt Has the Most Brutal Rug-Pull You’ll See This Year

by

Luis (Sergi López) feels out of place as he enters the party, Sirāt, looking like someone who accidentally wandered into the wrong event. He’s not much older than the young, free-spirited ravers, and like some of them, he’s brought his child. But unlike them, he seems stiff and uncomfortable, wearing practical clothes and a worried expression. The party is taking place in a remote, dry area of southern Morocco, with music and a laser show projected onto a cliff. The attendees are a mix of bohemian types – many from Europe like Luis – who see themselves as global citizens, united by music and a carefree lifestyle. Luis has traveled from Spain with his son, Esteban, and their dog, Pipa, hoping to find his daughter, Mar, who he hasn’t heard from in five months. As the party continues, the group’s sense of freedom and belonging begins to feel less secure.

Oliver Laxe’s film, Sirāt, is a subtly unsettling experience that initially feels predictable. As you watch the first half, you might think you know where the story is going, despite a few strange details. Then, Laxe unexpectedly changes course, making the characters’ world feel unstable, as if their secure foundation was actually fragile. The film, co-written with Santiago Fillol, builds tension like a thriller, but for a long time, it’s a low-level anxiety surrounding a group traveling across the desert. Luis makes a reckless decision to follow other trucks in his van, hoping to find another party. The tension seems to stem from the uneasy connection between Luis and the people he joins, whom he doesn’t fully trust.

López is a well-known actor, recognizable from films like Dirty Pretty Things and Pan’s Labyrinth. For this film, director Laxe cast a group of captivating, non-professional actors who are actually part of real dance-party communities. We gradually get to know them as individuals: Bigui, with his missing arm and playful spirit; Steff, the motherly figure; the cunning Tonin; the observant Josh; and Jade, who stands out with her unique style and is the most likely to reach out to the hesitant Luis. This close-knit group feels like outsiders to Luis, who is clearly uncomfortable and doesn’t understand their lifestyle. He initially judges them, especially after a member accidentally takes LSD. However, the group proves helpful, assisting Luis and Esteban when their car gets stuck, sharing food, and opening up to each other. Soon, Steff is giving Esteban a haircut, and Jade is telling Luis about a repaired speaker, which becomes a symbol of their connection. (“They all sound too loud to me,” Luis confesses.)

The film starts familiar, but quickly diverges from typical narratives. Director Laxe boldly breaks cinematic conventions, pushing the story into darker territory and suggesting the characters’ cross-cultural connection is a naive fantasy. Brief news reports, set against a pulsing techno soundtrack, hint at a looming global conflict, with talk of widespread chaos and nations taking sides. The first party is shut down by soldiers ordering EU citizens to evacuate, but the characters selfishly choose to continue the celebration. Meanwhile, Moroccan locals are shown desperately preparing to flee, a reality that Luis and his friends either disregard or refuse to acknowledge. Despite their own personal struggles, these characters have always lived comfortably and securely, allowing them to travel through a crisis as if it doesn’t concern them. The film powerfully shows that protective bubble bursting, forcing them to confront the true meaning of global citizenship – a reality they’ve previously avoided by simply turning up the music and ignoring the world around them.

Read More

2026-02-06 22:54