‘Sirat’ Review: Oliver Laxe’s Excruciatingly Tense, Escalatingly Insane Road Trip Through a Desert Purgatory

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In simpler terms, the film “Sirât” by Oliver Laxe portrays a harsh and unforgiving universe in which we, the characters and viewers alike, seem to be mere playthings of an indifferent higher power. The journey depicted in the movie, from one desolate place to another, mirrors a purgatorial experience where this unknown force gradually whittles down the group, drains their spirits, and forces them to grapple with the concept of life beyond hope. For viewers, it might feel like Laxe himself is relentlessly testing our emotional and psychological resilience in ways we could not foresee or prepare for. This is both a severe warning and a lofty praise. Few films can simultaneously make us want to flee while compelling us to stay put.

In the heart of the Moroccan desert, I find myself surrounded by a collection of weathered speakers, seemingly small compared to the majestic dusty canyons in the vicinity. However, the music they generate – the initial composition by Kangding Ray, a powerful bassline that resonates like colliding tectonic plates – is nothing short of monumental. If these cliffs could vocalize, they would undoubtedly speak in the deep, rumbling language of pulsating beats and techno undertones. Cinematographer Maruo Herce captures this scene exquisitely, highlighting the authenticity of the participants: their old tattoos, sun-kissed scars, braids, studs, and worn tees – a testament that they are not here for selfies or superficial experiences. Instead, an atmosphere of blissful, drug-induced tranquility pervades; the only way to stand out would be to arrive looking conventionally ordinary.

Luis (played by renowned Spanish actor Sergi López) and his son Esteban (Brúno Nuñez), who embody typical middle-class normality, are on an unusual, heartbreaking quest. They move through the crowd of ravers, distributing photos of Luis’ missing daughter Mar, who hasn’t been heard from in over five months. A tip suggests she might be part of this subculture, but they find no one recognizes her. However, a compassionate spectator named Jade (Jade Oukid), with distinctive black-line face tattoos, informs Luis about another rave taking place soon, at a distant desert location. Suddenly, the military intervene, ordering an evacuation, which reveals that we’re on the verge of World War III.

Intriguingly, the storyline of a missing girl’s mystery unfolds within the context of the Free Party movement, at a time when global conflicts are on the brink of catastrophe. This captivating premise is beautifully realized in the movie’s initial hour, as we encounter more members of Jade’s circle, including Steffi (Stefanian Gadda), Josh (Joshua Liam Henderson), Tonin (Tonin Janvier), and Bigui (Richard Bellamy). These individuals, who have collectively lost an arm and a leg, reside in their industrial trucks and travel from one desert party to another. In the course of events, they reluctantly form a makeshift family for Luis and Esteban when the latter decides to elude the military and join them on this quasi-legendary second rave.

The movie takes an unexpected turn, blending humor with drama as Luis’ minivan struggles on rugged terrain and Esteban’s dog Pipa falls ill from what seems to be LSD-tainted waste. There are heartwarming moments that make us believe the film has deviated from its initial missing-person plot, transforming into a quirky, techno-infused road trip tale about an unconventional family. However, around the halfway point, a shockingly devastating event occurs, leaving you gasping for air. From then on, the movie “Sirat” (ominously named after the thin bridge linking heaven and hell) becomes anything but straightforward or ordinary. It ventures into increasingly wild, existential, and symbolic realms, showing us that even the most self-sufficient and isolated lifestyles can be dismantled bit by bit.

When we face the loss of everything, do we transform into savage beasts or divine beings? Do we regress to a state of pure nature, raw and brutal, or does grace emerge from the ashes? This movie doesn’t offer clear solutions but instead delves deeply into these questions, shifting shapes like we’re approaching the edge of a global crisis where the usual norms and conventions seem to bend and twist. And it’s not just the rules of our existence that are affected, but even the fundamental principles of filmmaking and narrative structure themselves.

To truly capture the essence of this film, I’d say it’s more than just shape-shifting; it’s akin to undergoing a profound spiritual metamorphosis. Chameleons might change color, but “Sirat” transcends that, delving deeper into a fusion of “Mad Max,” “The Wages of Fear,” and a significant portion of Michelangelo Antonioni’s work from the ’60s and ’70s. This film isn’t just mimicking these classics; it’s reimagining them in its own unique way, much like how God’s callous nature encompasses both creation and destruction.

Somehow, Laxe’s unyielding control over the escalating catastrophe (reaching an absurdly dramatic, almost laughable peak that is both heart-poundingly tense and unforgettable) remains steadfast. This bold directorial assurance, coupled with the film’s intricate mysteries and nuances, is truly awe-inspiring, even as it leaves you feeling captivated and unable to look away, perhaps unwillingly so. “Is this what the end of the world feels like?” Bigui queries at one point, and in many ways, it is. However, while the bleak, pre-apocalyptic world portrayed is one where everything is collapsing, disintegrating, exhausting itself, exploding, disintegrating, turning to ashes, and dying, “Sirat” is something fresh.

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2025-05-16 00:46