Rating: 7 out of 10.

It’s been the end of the world for a long time.

What starts as a father’s (Sergi López’s Luis) search for his missing daughter in the Moroccan desert quickly devolves into an existential crisis of identity as he finds himself lost on a journey with no true destination. It’s therefore fascinating when Luis’ young son (Bruno Núñez Arjona’s Esteban) admits his sister didn’t run away. She was simply an adult who decided to leave. So, in many ways, this hunt becomes less about Luis finding someone and more about him letting go.

Not from responsibility or desire, but a deteriorating world from which he can no longer protect his children. Director Oliver Laxe and co-writer Santiago Fillol ultimately introduce a WWIII-level event off-screen to push their characters into the furthest fringes of society—an arduous path towards either oblivion, salvation, or … both. Because the most intriguing piece of the whole is that death might be an escape from having to see what comes next.

So, rather than answers, Sirāt provides struggle. And through that struggle it creates room for empathy in a way that reminds us of what’s possible outside the cruelty of capitalistic self-interest. It’s why Laxe needed to find genuine non-actors to embody the pain, freedom, and hope of the ravers who take Luis and Esteban under wing. Stefania Gadda, Joshua Liam Herderson, Richard ‘Bigui’ Bellamy, Tonin Janvier, and Jade Oukid are absolutely sensational.

As the opening text explains, the title describes a bridge over Hell in Islamic eschatology that everyone must cross to find Paradise. The violence outside our window is the fire and brimstone and our unceremonious exit, while horrific for those left to watch, is our potential reward. Laxe pulls no punches portraying our lives as the kick to the teeth they often are. A torturous wasteland made bearable by the found families with whom we choose to walk through it.


Stefania Gadda, Joshua Liam Herderson, Richard ‘Bigui’ Bellamy, and Sergi López in SIRÂT; courtesy of Neon.

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