With most films, the opening act creates an expectation of narrative and tone.  If a whodunit thriller, we’ll be introduced to a bunch of eclectic characters knowing we need to pick who “did it”.  If a romantic comedy, we’ll meet two people who will fall in love and then experience a few hurdles before an inevitable happy ending.  If a biopic, we’ll probe the life of a famous individual and be shown a perspective, often sanitised, of the troubles they overcame enroute to success.

Predictability is inevitable.  After all, thousands of movies are made each year and it’s hard to stand out from the pack.  A visionary director may want to be bold, wild and original but at the same time, they’re beholden to investors who need an element of commerciality to recoup costs.  When a rare film comes along which surprises and catches you off-guard, it’s a bloody great feeling.  There were several instances in Sirāt where I excitedly thought to myself “what the bloody hell am I watching?!?”

The dialogue-light opening introduces us to Luis (López), a middle-aged man searching for his lost teenage daughter.  His travels have led him to a remote part of the Moroccan desert where hundreds of music-loving-types have brought stereo equipment for a makeshift, outdoor, multi-day dance party.  Luis is accompanied by his young son, and the pair are handing out missing person fliers to the sweaty, drug-taking attendees in hope that someone knows something.  Their efforts lead to naught but, on hearing another party is soon taking place, they jump in their van and follow a group of ravers across the rugged landscape towards the venue.

There are two startling events, one in the middle and one towards the end, that spin the film in unexpected directions.  I won’t reveal more as it’s part of the film’s allure.  I’ve read interviews with Spanish writer-director Óliver Laxe (Fire Will Come) where he speaks of the deeper meanings connected with these events.  I saw this film several months ago at the Brisbane International Film Festival and it’s provided thought-provoking observations which still linger. 

Also worth promoting are Sirāt’s stellar production values.  The pumping music of electronic film producer Kangding Ray would have you think you’re sitting in a nightclub.  The film was shot across Spain and Morocco with cinematographer Mauro Herce beautifully capturing the rugged terrain, dangerous roads, and barren landscapes.  César Award winning actor Sergi López (Harry, He's Here to Help) earns huge sympathy as the distressed father.  For the rest of the cast, most were non-professional actors found by the casting director on the real-life “rave circuit” and they add extra authenticity with their knowledgeable personas.

You won’t see too many movies like Sirāt.  Whether its thumbs up or thumbs down, it provides an experience with a capital E.