His apocalyptic art film ‘Sirât’ dances in the face of oblivion. Maybe that’s why people love it

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TORONTO – During our early morning Zoom call from France, Oliver Laxe’s smile appears radiant, almost euphoric. A week later, upon meeting him in person at a private event for his new film “Sirât” in Toronto, he exudes tranquility. He seems to be the most content (and possibly tallest) individual in attendance.

He mentions that an early concept for the movie was inspired by a quote from Nietzsche, which goes: ‘I will not believe in a God who does not dance.’

Laxe attends underground dance events, or as he puts it, ‘secret gatherings’ you hear about through the grapevine. He ponders their essence and impact on him. ‘There remains an inherent memory in our physical selves of rituals we performed for millennia, creating a kind of purification with our bodies.’

Instead of the usual grand arguments about art’s importance during film festivals in the fall, Laxe presents a different perspective. His ‘big idea’ isn’t about intellectual complexity; it’s about embracing the physical, returning to something purely sensory.

Since its premiere at Cannes in May, “Sirât” has been gaining popularity: not just a critics’ favorite but an intriguing enchantment for those who have watched it. This desert dance party, seemingly set at the brink of an apocalypse, is more about experiencing emotions than solving puzzles. Its intense EDM rhythms resonate deeply within your chest (assuming the theater’s sound system is effective). And the explosions on the horizon send shudders through your heartbeat.

Laxe asserts that he has great faith in the power of images to resonate deeply within viewers. He likens himself to a masseuse, suggesting that watching his films may sometimes cause discomfort or distress, comparable to wanting to express anger at the masseuse during a massage, or feeling physical discomfort. However, afterward, the viewer can appreciate the positive effects, much like feeling relief after a therapeutic massage.

Laxe is able to discuss his inspirations, ranging from cosmic epics crafted by the Russian maestro Andrei Tarkovsky, to thought-provoking road movies such as “Zabriskie Point” and “Two-Lane Blacktop.” However, it’s not the conventional academic path that molded him. Instead, it’s his deviation from this route, following his upbringing in Galicia, Spain’s northern region, and education in Barcelona (he experimented with London for a while), that truly captures our attention.

As a humble movie critic, reflecting upon my own journey, I admit my early efforts were far from satisfactory. The film industry and Europe seemed indifferent to my presence, and frankly, I wasn’t keen on pursuing it further. Yet, an innate passion stirred within me, leading me to invest in a 16-millimeter Bolex camera – a tool I saw as my weapon, a sniper’s rifle, if you will, meant for the trenches of filmmaking. However, the films I would create would be small, intimate pieces, rather than grandiose spectacles.

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At the age of 24, Laxe relocated to Tangier, Morocco, where he resided for a period of 12 years in a monastic seclusion away from the allure of Hollywood. During this time, he worked closely with local children on his films. This prolonged experience culminated in the creation of his first feature film, “You Are All Captains,” released in 2010. This production eventually earned him a prestigious spot on the award-winning stage at Cannes, an achievement shared by his subsequent second and third films as well, all of which were produced prior to “Sirât,” his fourth film.

Gradually,” he notes, “the creations we were crafting seemed to unlock new opportunities.” “In essence,” he continues, “it felt like life was guiding me, suggesting that this was my chosen course.

In Arabic, “Sirât” signifies a path, often carrying religious undertones. The latest film by this creator embarks on an extraordinary voyage, starting with the fluid dancing of its initial sequences and transitioning to train tracks that extend rigidly towards the horizon’s end. There’s also a narrative thread drawing us into the story: a father and son venturing through the revelers in search of a lost daughter, hinting at “The Searchers” or Paul Schrader’s “Hardcore.” However, this motif doesn’t seem to be a central theme that the director is eager to delve deeply into. As an admirer, I find myself intrigued by this unique journey and eager to explore its hidden layers.

He notes that his personal journey is deeply spiritual, centered around finding meaning and growth during challenging times. He describes these periods of difficulty as opportunities for self-discovery, referring to them as ‘abysms’ into which he willingly dives for this purpose.

Laxe doesn’t claim to have devoted years to refining the script or dialogue. Instead, he drew upon the vivid images that lingered in his memory – like trucks roaring through a dusty desert while blasting their own music – and shared them at free parties. It was during these events where his cast came together, finding their roles on the dance floor.

He reminisces, “We shared that we were creating ‘Mad Max Zero,’ but it was also something deeper, more philosophical and spiritual. Some of them, I had previously acquainted. There are recordings of us discussing the movie right in the midst of a dance floor with everyone dancing around. To put it simply, it was quite wild. It’s a project I’d like to share with film schools.

The film was filmed with a gritty Super 16 camera, taking us through rugged, sandblasted landscapes, which were a mix of the deserts in Morocco and the mountains in Spain. Our team navigated sharp turns on narrow mountain roads that would make fans of William Friedkin’s classic 1977 film “Sorcerer” feel uneasy.

In response, Laxe clarifies that his stated film was not his most perilous, recalling his work on “Fire Will Come” – a 2019 arson-themed thriller where he employed real firefighters. He explained, “While making the movie, we were literally in the midst of the flames. I can’t help it, but I’m addicted to visuals, and this is my drug.

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In a way reminiscent of Herzog’s style, Laxe, with his bearded visage, carries an air of a wilderness prophet that encourages his associates, particularly his long-term writing partner Santiago Fillol and electronic composer Kangding Ray, to join him on this daring journey. However, discussing “Sirât” might not be enough at times, instead, one may choose to immerse oneself in its powerful soundscapes, the emotional bond amongst the makeshift family, and a word of caution: prepare for some emotionally tumultuous scenes that have left even the most resilient viewers shaken.

According to him, the movie stirs emotions for a group of people dealing with pain. He emphasizes he’s not a cruel filmmaker intent on causing distress to viewers. Instead, he carries an optimistic outlook, having faith in humanity, despite its flaws and vulnerabilities.

For individuals seeking political interpretations within the movie, they will discover it, offering a fable on migration and fascism while capturing the excitement of plunging headfirst into the unknown. The film “Sirât” provides an unusual sense of solace in a period of cultural ambiguity, which is quite uncommon for a low-budget work of art.

Its visionary maker knows exactly where he is going next.

In Cannes, I received the message,” Laxe states. “What audiences value most is the sense of liberation from the filmmaker or the auteur. They admire our daring act of leaping from a five-story building to create this movie. For the upcoming production then-

As a devoted cinema enthusiast, I found myself in an uncanny situation – it seemed like fate itself had crafted a Laxian cliffhanger scene, snatching away thoughts with an overwhelming wave of emotion. For hours on end, I held onto the hope that this was all part of his plan. However, the elusive director eventually reached out to me, expressing sincere apologies. Yet, during those long hours, the enigma surrounding him added a layer of intrigue that only served to heighten my anticipation for our next interaction.

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2025-09-06 23:31