Report from Cambridge Film Festival : A [non-spoilery]review of Sirāt (2025) [final proof]
More views of - or before - Cambridge Film Festival 2025 (23 October to 2 November)
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28 October
Report from Cambridge Film Festival : A [non-spoilery]review of Sirāt (2025) [final proof]
We open with shapes in close up that we may quickly comprehend, then draw out to an assemblage or array of them, in a place and a pattern that is extremely dramatic, but, as we will find, nothing (or little) will be or remain as clear as this for long.
During a title-sequence that, by caption, slowly starts to identify our players amongst hundreds of others¹, and then, in what initially and immediately follows, takes us more and more into a mix that is, deliberately, visually indistinct and obscure, we are perhaps already wondering – although we need not ! – how what we know so far, or have seen, can sustain another 105 mins :
Purely as perceiving viewers who nonetheless co-create an understanding of this film's world and reach, this is one metaphor for life amongst others. Such metaphors will prove to be various, be they ones involved with rebellious flight or foolish quest, or of emotional challenge, seeking to avoid conflict, or puzzlement mixed with the threat of likely annihilation.
An actor of the presence, range and experience of Sergi López* [https://t.co/gaS5ADXJqT] was vital 'to anchor' the cast of Sirāt (2025).
— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) October 29, 2025
* Known to #CameraCatalonia audiences from La vida lliure (2017) or La propera pell (The Next Skin) (2016), let alone Pan's Labyrinth (2006).
At the level of its cast, it is hard to think of anyone of the stature of Sergi López² who would have been more suitable 'to anchor' the small group of actors in this filmic endeavour – someone with a presence, but also a sense of wounding-because-wounded vulnerability [the literal meaning, or etymology, of 'vulnerable' (the link is to the OED)].
Sirāt comes to a close with an increasingly heightened strangeness, which maybe might, for those who had seen Woman at War (2018), have unhelpfully caused one to recall it. (Yet, there, it was as if the directions in which the script had taken off [or, perhaps, it effectively had already not taken us with it ?], of twins and an escape, had still led to a dead end where we saw what we perhaps knew peter out (or it just felt like a convenient cop-out³ ?).)
By contrast, the cinematic strengths of Sirāt (2025) help us stay what's a very harrowing course : it is a film that starts with existential confusion and, after journeying painfully, and shockingly, into the unknown ‒ into the unfathomable ‒ concludes in a mystery.
The cinematic strengths of Sirāt (2025) allow one to stay what's a very harrowing course :
— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) October 29, 2025
It is a film that starts with existential confusion and, after journeying painfully, shockingly into the unknown ‒ into the unfathomable ‒ ends in a mystery.
As seemed entirely apt, the whole credit-sequence played without the house-lights coming up⁴. (If anyone did leave during the closing-credits, they were respectful of that mystery, and of the mood at the end of and resulting from the film, and had left very quietly.) This practice lets us immerse ourselves in the long list of all who - whatever exactly it had been. Part of making what we had seen, part of the mysterious and eminently self-referential powers - as those of music itself are, and which this film celebrates conjointly ! - of cinema.
A few carefully placed, non-determinative film-references in Sirāt (2025), at #CFF44 :
— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) October 27, 2025
Stalker (1979)
Lost Highway (1997)
The Sheltering Sky (1990)
End-notes :
¹ Although, at times, the impression or illusion that there were hundreds or more did not seem maintained ?
² Known to #CameraCatalonia audiences from La vida lliure (2017) or La propera pell (The Next Skin) (2016), let alone Pan's Labyrinth (2006).
³ It certainly did not, although perhaps intended to be one, feel like an indicator that Woman at War II would happily pick up where it left off, but more like a cop-out of an ending.
⁴ To #UCFF, it is always appropriate and should be obligatory.
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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
