Óliver Laxe
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Those unanswered questions give the film a party at the end of the world vibe but this is not a Mad Max knock off.
A community of tattooed revellers who look like they have been sprung from a Mad Max movie have come to worship at the altar of rave…
…evoking something moodier than Mad Max…
Su estética nos remonta un poco a las películas de «Mad Max», con esos pasajes aislados, apocalípticos y donde conviven la música con el desierto.
…starts following this Mad Max-esque caravan of vehicles through the North African desert…
La película, que en su primera hora parecía una exploración entre Beau Travail y Mad Max…
Laxe begins to invoke both The Wages of Fear and Sorcerer, ratcheting up the tension…
…or even Henri-George Clouzot’s The Wages Of Fear but with a poetry and rigour all of its own…
The cinematic influences from which Laxe and Fillol have drawn are fairly obvious, from “The Wages of Fear” to “Mad Max.”
…as well as Clouzot’s 1953 Wages of Fear, which won the Cannes Fest top prize…
The classic French film “The Wages of Fear” infamously served as the inspiration for William Friedkin’s 1977 masterpiece “Sorcerer,” and “Sirât” is both aesthetically and quality-wise a deserving third chapter in this unusual trilogy.
Sirât could be described as an anarcho-hippie Wages Of Fear…
Laxe begins to invoke both The Wages of Fear and Sorcerer, ratcheting up the tension…
…there are echoes of William Friedkin’s SORCERER in the close-ups of struggling truck wheels overlooking vertiginous heights and the night photography of spectral headlights passing through unforgiving terrain…
…and was later remade (unsuccessfully by William Friedkin as Sorcerer).
The classic French film “The Wages of Fear” infamously served as the inspiration for William Friedkin’s 1977 masterpiece “Sorcerer,” and “Sirât” is both aesthetically and quality-wise a deserving third chapter in this unusual trilogy.
…the other comparison being William Friedkin’s 1977 remake Sorceror, given how much Sirât’s music echoes that film’s Tangerine Dream score.
…was later remade (unsuccessfully by William Friedkin as Sorcerer)…
He had obviously seen George Miller’s Mad Max saga, especially Fury Road, as well as Clouzot’s 1953 Wages of Fear…
…the trailers made it seem like this was going to be a moody, dramatic film with similarities to Mad Max: Fury Road, but in actuality, it couldn’t be further from Fury Road apart from its setting…
He had obviously seen George Miller’s Mad Max saga, especially Fury Road…
It has a pervading sense of Mad Max: Fury Road about it…
In contrast to the Fury Road-trip that makes up the first half…
(This is the same idea that guided John Ford’s 1956 masterpiece, The Searchers, starring John Wayne, and, visually, Sirât also recalls Ford’s Monument Valley westerns).
This is same idea that guided John Ford’s 1956 masterpiece, The Searchers, starring John Wayne, and, visually, Sirât also recalls Ford’s Monument Valley westerns…
…lo que arranca como una relectura alucinada de ‘Centauros del desierto’ (John Ford, 1956)…
…choices that briefly recall the feverish intensity of Climax…
Laxe’s approach here feels similar to Gaspar Noe’s approach to his film Climax. Driven by the music that gets more and more intense as the journey goes on.
Inevitably, while watching the open land, vast expanses of desert sands, we recall David Lean’s 1962 masterpiece, Lawrence of Arabia.
There’s even a touch of Francis Ford Coppola and “Apocalypse Now,” as the unceremoniously cruel ways of both environmental and human nature found in the latter half of “Sirât” feel like a descent into hell.
Laxe’s influence included the studied, meticulous pacing of Tarkovsky (“Stalker,” in particular) with the epic scope of American western artists like John Ford.
…perhaps Ridley Scott’s Blade Runner would be a more apt touchstone…
Drawing inspiration from Kiarostami’s Taste of Cherry (1997)…
La película, que en su primera hora parecía una exploración entre Beau Travail y Mad Max…
…en línea con lo planteado por Lars von Trier en ‘Melancolía’ (2011), celebra la luz que emana de los que ya no tienen nada que perder…
…the likes of which they haven’t seen since Civil War…