In Islam, Al-Sirāt refers to the bridge over Hell that every Muslim must cross after death, on Judgment Day—wide for the righteous and very narrow for sinners—which will lead them to eternal life or damnation.Luis, a father, and his teenage son Esteban embark on a desperate journey across southern Morocco in search of Mar, daughter and sister, who disappeared after attending a rave in the desert. They begin by distributing flyers with her photograph among young partygoers, entering a subculture of music, trance, and radical freedom. Their path takes them deeper into remote areas, toward gatherings near the Mauritanian border, while radio broadcasts announce approaching global conflicts. The journey becomes an ordeal marked by accidents and illness. Amid all this, Luis persists. Their pilgrimage culminates in the image of a freight train carrying migrants across the endless sands, a haunting, unresolved conclusion that transforms the search for Mar into a collective odyssey of survival and liminality.Sirat employs the desert not as a neutral setting but as a metaphysical stage: a liminal threshold where landscape, ritual, and catastrophe converge. Laxe collaborates with cinematographer Mauro Herce, whose 16mm textures accentuate grain, solar overexposure, and nocturnal shadows, producing a sensorial image that feels both raw and transcendental. Sound design is equally structural: electronic beats are not mere accompaniment but narrative pulse, guiding perception from ecstatic abandon to mortal danger. Non-professional performers, exposed to physical exhaustion and heat, embody vulnerability with rare authenticity. The film rejects closure, evoking  “sirāt” as metaphor: an unstable crossing suspended between perdition and redemption, forcing viewers into a state of uncertainty that is both existential and political.Teresa Cavina