A Captivating Desert Reflection on Loss and Mourning

In the hauntingly beautiful film Sirat, directed by **Oliver Laxe**, a character provocatively poses the question: “What do you think the end of the world feels like?” To this, a weary companion replies, **“It’s been the end of the world for a long time.”** This sentiment echoes throughout Laxe’s beguiling narrative, set against a backdrop that feels chillingly familiar and all too relevant.

The Journey Through a Hopeless Future

Taking place in a near-apocalyptic future, Sirat follows a band of ravers traversing the **Moroccan desert** in pursuit of one final party. Their makeshift home—a weathered caravan—is stocked with essentials, and their community comprises anyone they encounter on their path to the next dance floor. News broadcasts, crackling over the radio, paint a grim picture of a world plagued by escalating wars, dwindling resources, and diplomatic decay. This harsh reality, captured through Laxe’s signature **painterly lens**, serves as a stark reflection of our own tumultuous times.

A Masterclass in Grief and Community

Premiering at **Cannes** in competition, Sirat marks Laxe’s fourth appearance on the prestigious Croisette. With his previous works like You Are All Captain and Mimosas, he has carved a niche by confronting human vulnerability in the face of existential dread. ^[source](https://www.hollywoodreporter.com/t/cannes/)

In this latest offering, Laxe explores the depths of loss—both personal and societal. The desert, with its arid expanses, serves as a perfect metaphor for overwhelming emotions and the insignificance of humanity within the universe.

Confronting Death in Modern Society

The past few years have intensified our discomfort with the concept of mortality, driven home by the dual crises of a global pandemic and climate change. In cultures like that of the **U.S.**, death is often shunned rather than embraced. Laxe’s oeuvre consistently engages with this theme; previous films have confronted both personal loss and cultural extinction. As seen in Mimosas, where the plot revolves around delivering a body to its ancestral resting place, Laxe has never shied away from difficult conversations.

A Search for Meaning

Beginning with a gripping quest, Sirat opens with Luis, portrayed by **Sergi López**, and his son Esteban, played by **Brúno Nuñez**, searching the vibrant chaos of an outdoor rave for Luis’s missing daughter, Mar. Laxe indulges in lingering shots of bodies moving to the pulsating beats of techno—music composed by **Kangding Ray**—as the desert buzzes with both energy and despair.

As they navigate the crowd, handing out flyers of Mar, they encounter a group that suggests she might be at the next dance party. Driven by desperation, they embark on a journey with rather unwilling alliances, reminiscent of the path in **Octavia Butler’s** novel Parable of the Sower, which addresses forced displacement in a dying world.

Visual Poetry in the Desert

The film reaches its aesthetic peak in the middle section, where Laxe revels in the grandeur and stark beauty of the **Sahara Desert**. He captures scenes of vehicles navigating steep mountains and battling sudden sandstorms, enhancing the film’s haunting atmosphere.

A Lapse in Coherence

Ironically, the film stumbles as it approaches its conclusion. While the final act is vibrant with shocking developments, it lacks the narrative coherence that initially captivated audiences. Laxe indulges in metaphors that run rampant, obscuring rather than illuminating his central themes. There’s a moment that raises eyebrows, where characters of different backgrounds are portrayed with a flair that feels more aesthetic than substantial.

Conclusion: A Call to Awareness

Despite these narrative hiccups, Sirat is an invigorating cinematic experience. It is an artistic endeavor that strives to force us to confront our realities, make peace with our grief, and find meaning in the chaos. In a world teetering on the brink, it is, indeed, a film meant to awaken us.