Enjoy the sharp twists in the techno-thumping, Cannes-winning road thriller ‘Sirāt’

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I was eager to hear the audience react the second time I watched the suspenseful thriller “Sirāt.” After seeing it at Cannes months before, I immediately wanted to experience it with a crowd, and I wasn’t disappointed. The gasps and sighs started surprisingly early, suggesting some viewers knew what was coming. I won’t reveal any plot details about this clever, playful, and thought-provoking Spanish film (which won a prize at Cannes). Ideally, you should go in knowing as little as possible, but I’m here to encourage you to see it!

Oliver Laxe, the director of “Sirāt,” is a free-spirited filmmaker who seems perfectly at home in the energetic Moroccan rave that opens his mesmerizing film. The story unfolds in a dramatic desert landscape, shadowed by the Atlas Mountains, where a group of men build a wall of speakers—an attempt to hold back a wave of Western tourists. As electronic music begins to pulse and throb, it feels almost like a heartbeat, and soon, the desert comes alive with hundreds of people dancing to the beat, illuminated by laser lights that create otherworldly structures above the orange cliffs.

Look, this isn’t your typical music festival crowd like Coachella or Burning Man. People go to those events for a fun trip, to be seen, or to create something. But the energy at Sirāt’s events is different. It’s for people who are truly dedicated to this lifestyle, people who’ve lost themselves – in a good way – in the search for something beyond the everyday. Many have embraced radical body modifications, and honestly, most don’t want to fit back into normal society. They live for the moment, for the music, and for the mystery of where the night will take us. It’s about the now, the next song, and the collective journey.

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Oliver Laxe’s latest film is a surprisingly joyful and impactful movie, even though it’s set in a desolate, end-of-the-world landscape. It’s being praised by both critics and viewers, which is encouraging for filmmakers who take risks and create unique work.

Directors Laxe and cinematographer Mauro Herce film the opening scenes with a documentary-like feel. They reveal two groups of people without much dialogue or explanation. One group is a close-knit circle of friends, played by non-actors Tonin Janvier, Richard “Bigui” Bellamy, Stefania Gadda, Joshua Liam Henderson, and Jade Oukid. Oukid, in particular, stands out with her observant nature, making her someone you’d naturally trust. The performers use their real names and personal details – including tattoos and, for Janvier and Bellamy, physical disabilities – which adds a unique authenticity that professional actors couldn’t replicate. They move with a natural comfort in their surroundings that feels genuinely lived-in.

The story begins with Luis (Sergi López) and his 12-year-old son Esteban (Bruno Núñez Arjona), who have come from Spain searching for Esteban’s teenage sister. She disappeared months ago and joined this traveling festival. It’s unclear if she even wants to be found. Luis, dressed simply in a polo shirt, stands out as an ordinary face among the festival’s more eccentric attendees. It’s surprisingly difficult to recognize López, a well-known Spanish actor, as he portrays Luis with such quiet humility – especially for those who remember his menacing role as Captain Vidal in “Pan’s Labyrinth.”

It was a real disappointment when soldiers showed up just after the movie started and ended the party. They announced a national emergency and told everyone to pack up and leave in an organized line of cars. But these partygoers came all this way to avoid following rules—so why listen now? Jade and her friends escaped on two large buses, with Luis and Esteban following close behind in their minivan, a little dog happily sitting with a child. And now, the real fun begins.

You likely have some ideas about where this story is going, but you’ll probably be surprised. For a long time, Hollywood movies have followed very predictable patterns, sticking to strict rules about when certain events should happen. But those rules are starting to feel outdated, and audiences are now craving movies that break the mold – and this is one of them.

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We went in with incredibly high hopes, and we weren’t disappointed! We were blown away by ten films, including fantastic new releases from directors Lynne Ramsay, Jafar Panahi, and Nadav Lapid.

Watching ‘Sirāt’ felt incredibly immersive – it’s less about a story and more about a feeling. I was right there with these drivers, experiencing the thrill of taking risks, the sadness of drifting away from everything, and a growing fear that they’d gone too far. The film really builds this sense of unease, hinting that even if they did turn back, things might not be any better. What struck me most was how the editor, Cristóbal Fernández, synced the music to the visuals – the beat matched the speed of the cars and even the lines on the road. Those nighttime shots are haunting – cars alone in the darkness, chasing their own headlights, feeling utterly isolated, like they’re driving on another planet. It’s a really powerful experience.

The film’s title alludes to the Islamic concept of the path to paradise, briefly explained at the beginning. This suggests a theme of staying on the right path and the consequences of deviating from it. Interestingly, the characters don’t discuss religion directly, leaving the audience to interpret this symbolic layer for themselves. Throughout the film, I found myself repeatedly asking: is it just to put anyone’s morality to the test?

The movie relies heavily on visuals and action, with very little dialogue. One line, where Bellamy questions if this is what the end of the world feels like, feels forced. What’s more unsettling is how frequently the father, Luis, asks his young son for guidance. The boy, despite being so young, seems surprisingly resilient and isn’t fazed by his father’s uncertainty.

Viewers will likely focus on the somewhat disappointing ending – it feels abrupt and unresolved, similar to what happened in “House of Dynamite.” However, the journey to get there is packed with interesting and thought-provoking concepts. The show constantly asks questions: are these unconventional survivors the right allies in a world-ending event? Would trusting the soldiers have been a wiser choice? Despite their differences, the moments when characters like Luis and Jade cooperate are genuinely hopeful. Ultimately, though, their attempts to help each other often backfire, and they steadily move closer to a catastrophic outcome.

As the situation becomes desperate for these characters, you’ll notice their groans – and occasionally, a dark laugh. These laughs might seem dismissive, but they actually enhance the overwhelming sense of dread. Even these extreme individuals can’t escape the terrifying consequences of society. It seems like the story suggests that there are very few good choices left for anyone, and that’s almost darkly humorous.

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2025-11-12 22:32