Leveling in 2025 can feel like living the day before the end. You know things need to explode, but there are restrictions on what you can do. We seem to have moved from the movies about how it was to live in the early days of the lock and to see the world break and mostly ignore the seriousness of it (Except that no one told ARI Aster that). Now we start watching movies for living by the end of times and how we can do nothing but keep dancing while the bodies hit the floor.

At least that is the thesis of the darkest 2025 film, the film that best covers what feels like being alive at the moment in history. It also happens to be a Kickass soundtrack and a killer sound design that begs to experience in the theater.

The film is "Sirāt", the latest film by French Spanish director óliver Laxe ("Fire Will Come", "You're All Captains"), which won the Cannes Film Festival's Jury Award in 2025 (to be fair, Festival known for celebrating sick films) and was selected for Spain's entry to the Academy Awards.

On the surface, Sirte is the story of people attending Riva in the Moroccan desert and father and son looking for their missing daughter and sister. But when a large convoy of military vehicles raided the rivals and soldiers they begin to take all "EU citizens" and put them in custody, Sirte begins to expose a conflict in the background with more and more serious shares. What follows is a persecutive film about the family found, the importance of music and interpersonal relationships, for military preparation, the end of the world and the darkest and most perfect capsulation of 2025.

Laxce never fully explains Siirt's political or social backstew, and he never paints a picture of what happens right outside the screen. Everything we know from the radio stations we hear that the characters hear several times during the film, with talks on civilians, massaged on national borders, an armed conflict between the two countries, and also statements by the NATO Secretary General prepared by EU citizens.

However, for our main character, Louis (Sergi Lopez, also known as The despised fascist captain of the "Labyrinth of Pan") And his son Esteban (Bruno Nazez Aryona), nothing is as important as they find their daughter/sister. The proposal for collapse of society is just a background noise, something they really can't stop and think about, as they join the group of ravens on their way to Mauritania to another riva, and I hope their missing family.

Not that SITT uses the arrival of World War II (as radio broadcasting reports) as an ordinary taste for the story, as just something unique to have in the background. Every aspect of the story is influenced not only by the current, preparation of conflict, but for years of struggle. We see this when the group drives through the cities of ghosts, the rubble, the remnants of communities that have been beaten and washed over the years, signs of peaceful times have long been gone. Laxz and co-writer Santiago Filel Masterly weave in these hints of major armed hostilities in the story in a way that does not do this Military film specificallyBut still a story where the war is constantly present.

The characters can ignore all that they want, just write the conflict as something that happens far while driving through remote mountain passages and deserts, but with a time when they realize that they have been going to a minefield in the middle of the desert, there is no ignorance of their place in the conflict, it will not escape the end of the world.

The cover card at the beginning of the film explains the meaning of the title, which refers to the mythical Islamic bridge through the hell that everyone has to walk to reach Paradise on the day of the verdict. Also, the path on which the characters travel is just as dangerous, and any deterrent is fatal. It can be easy to take a stroll from Sirte and think it's a movie about accepting life while you can dance through the apocalypse, but I don't think that's what Laxce has in mind, necessarily. There are elements of it, such as the film definitely makes desert ravens look and sound Rad like hell, and the family found that the characters form is comforting.

However, at the moment when the characters allow them to deliver to the deterrence and try to forget about their misery and sadness, things go bad in the worse, as Sirte falls one blow to the intestines after another. There is no escapism, and even during a key scene where the characters are high and start a makeshift dance in the desert, the film uses any visual visuals to make us see what they see, choosing instead to show them as lonely and desperate people in a terribly empty world. This is a movie about how trying to ignore the horrors of 2025 does not mean that you can avoid them.

Like another fantastic fest film that is Like a rifle to the chest, "coffee table", "Sirāt" is a gloomy, frightening movie, but not the one you forget any time soon.