Sirat Of Oliver Laxe is the perfect storm of this Cannes 2025, it is that something that not only does not expect, but above all you cannot predict, you cannot understand that it is coming, you can’t simply. Political film, very philosophical film also, but with the feet well planted on the ground, with the ability to be disturbing, very human, to bring us into the life and interactions of one of the most strange views on the big screen lately.

Sirat – The plot

For Luis (Sergi Lopez) Morocco is the last beach, literally. Together with his son Esteban, he is looking for his eldest Mar, of whom he has not been news for months and that the last time he had been spotted in a rave. This is why he is now there, between dust, heat and a very strange humanity that moves to the syncopated rhythm of electronic music that does not understand, does not love and does not stand. However, when the military interrupts the concert and ordered everyone to leave, Luis decides to escape and with his minivan he walks in the inside, following the track traced by the two campers in which Jade, Bigui, Josh, Stef and Tonin move. They are pariah, a sort of brancaleone army that moves of rave to rave, without a real pre -established path, without a real basic idea, without even a real will if not that of being on its own, linked by a spirit of absolute commonality. Among the passes, streams, mountain paths, deserts, without often knowing what there will be beyond the next hairpin bend, that small group will begin to get to know each other better, to become a family, at least until the tragedy and the case will come dramatically to collect.

Sirat It is a film with many faces, unpredictable as its director, for some time one of the most prominent names of the Iberian scene. Conceived as an almost semi-documentary story, where the camera is always discreet, intimate but never exceeds the gaze of the protagonists, the vision of their world. Mauro Herce’s photography has the great merit of making Morocco’s beauties of Morocco palpable, of an indefinite Spain, enhances every acrid color, every gust of wind, every moment in which you do not know where you are, you know only with whom. Then comes, sudden and ruthless, the blow. A terrible blow, as a professional killer, which Laxe has planned, structured and put at the right time, in the right place, to make everything vine towards the drama, the existential journey into the darkest part of one’s soul. But Sirat It also becomes a political fresco, in the most indefinite sense but not for this reason without power that can be imagined. There is nothing more around, we are alone with our nightmares, with the disasters of the past who, however, come to claim their tribute. In short, we go to survival, the dramatic post-apocalyptic, the dive within the last and desperate created by the West.

A dusty odyssey and a thousand souls

Oliver Laxe has the great ability to decide that this story, these wayfarers, must be portrayed for what they are, that cinema is truth. Sergi Lopez, one of the most particular actors of his generation, is perfect in painting this man determined to find a daughter, so much so as to also put the health of his son at risk, bringing him to that slice of the world without a real law, a real meaning. The rest of the cast, however, is made up of non -professional actors. Someone is missing, others a leg, we are not from the parts of Claudio Caligari, a much more phenomenological filmmaker, but certainly Laxe knows what he wants, he knows how to get it, he knows that what matters is the truth or even just a shred of it. Road Movie was said to be, and Sirat It is in the most exemplary sense, it seems to have dust, sweat, the heat of a land where civilization has not arrived but we arrive on the other hand. That group effectively refused the so -called civilization, but it is not even so one with that land of which they are unwanted visitors in reality. In the end, the general impression is that of a terrible illusion, to deceive itself on one’s identity, on the place that occurs.

Sirat It is magnificent, hypnotizing, as it can make us understand the terrible illusion of that group, a symbol of the eternal seeking something different, absolute freedom, happiness that is also generated by others. Some sequences are heartbreaking, beyond normal endurance, then there is the surprise effect, there is the danger that arrives and is monstrous, it is the legacy of the West and its wrongdoings in that corner of the world to which it has removed everything. The desert has no answers, it is an empty box that welcomes despair, nature is cruel but only for us, which we persist in wanting to test it. After almost two hours of Odyssey between crevasses, Stradoni, the feeling of improbable leaves room for the certainty that perhaps something like this happened, maybe not so, not there, but something similar will certainly have happened. Difficult to understand if and how much Sirat He may aspire to win something, this Cannes 2025 appears unstable, unpredictable to us, the competition has given for now interesting titles and some illusion, but it will be difficult to find something that draws Laxe’s ability to make us feel unprepared, without a minimum of defenses in front of a screen.

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