Morocco, desert, huge rave with hundreds of people. Among them appears a man who hands out flyers and searches for his missing daughter. At the same time, a military conflict begins in the country. In the turmoil, the man, his younger son, and his dog set off into the desert with a group of ravers.

Of all the ways to describe Sirat, the easiest would be to refer to it as a road movie — a film about a journey, a film about the road. But while most films in this genre have a point B as well as a point A, Oliver Laxe's final destination is initially vague and then disappears altogether as the film progresses, leaving the journey itself as the only way of existence. This journey in the film can be perceived both as an exaggerated reality, in which a series of local conflicts leads to World War III, and as one big metaphor for the journey of life, a spiritual journey full of hardships, but one that ultimately dispels doubts.

The film is a dramatic challenge because all the plot lines are left unfinished. At the same time, Laxe's film is extremely spectacular — the suspense of serpentine journeys is off the charts (as in Clouzot's The Wages of Fear), and the incredible picturesqueness of driving through desert landscapes accompanied by loud music was already explored by George Miller in Mad Max. Laxe shocks with violent scenes and makes full use of techno music, gradually immersing both the characters and the audience in a trance, thanks to which the allegorical nature of this work becomes increasingly apparent with each scene. After watching the film, you will have even more questions than before, but that is the goal — to send the viewer on their own individual journey to find the answers.

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