Sirāt (2025)
Directed by Óliver Laxe
A man and his son arrive at a rave lost in the mountains of Morocco. They are looking for Marina, their daughter and sister, who disappeared months ago at another rave. Driven by fate, they decide to follow a group of ravers in search of one last party, in hopes Marina will be there.
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22 films that influenced Sirāt
What critics say influenced Sirāt
Director
George Miller
Critics invoke Miller by name, and compare Sirāt to 2 of Miller’s films.
Visuals
On Miller, rather than any one film
…you’ll see shades of many other filmmakers here, from John Ford to George Miller and Henri-Georges Clouzot…
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…
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…
Director
Henri-Georges Clouzot
Critics invoke Clouzot by name, and compare Sirāt to 1 of Clouzot’s films.
Visuals
On Clouzot, rather than any one film
…you’ll see shades of many other filmmakers here, from John Ford to George Miller and Henri-Georges Clouzot…
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)…
On Ford, rather than any one film
…with the epic scope of American western artists like John Ford…
…you’ll see shades of many other filmmakers here, from John Ford to George Miller and Henri-Georges Clouzot…
(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)…
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On Noé, rather than any one film
…cinephiles have long been frothing over auteurs like Gaspar Noé making a career out of “vibes cinema”…
…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.
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…perhaps Ridley Scott’s Blade Runner would be a more apt touchstone…
Drawing inspiration from Kiarostami’s Taste of Cherry (1997)…