In an era of the atomisation of viewing practices through streaming, increasingly short, self-produced videos for TikTok and YouTube, and the reduction of all audiovisual material to “content” for various “platforms”, there is something refreshing about a bunch of strangers assembling in a dark room to collectively watch a giant screen with massive sound.

In other words, going to the movies.

And there’s no better place to see films limited in mainstream release than at film festivals. The standard of the films screening at this year’s Sydney Film Festival was exceptional, and it is difficult to select a top five out of the 40 or so I managed to see. But here goes!

Produced by Pedro Almodovar, writer-director Oliver Laxe’s Sirât, which recently won the Jury Prize at Cannes, follows middle-aged Luis (Sergi López) as he travels with his son Esteban (Bruno Núñez Arjona) and their dog Pipa looking for his estranged daughter in the desert rave scene. They team up with a group of ravers and set off across Southern Morocco towards the next party.

Early on, there are some hints that things are awry on a broader scale – the military break up the opening doof, and we hear, at one point, World War III has broken out.

And as the film unfolds, things take a turn for the worse, with a litany of tragedies – increasingly absurd – afflicting the members of the group. The vaguely futuristic world of the opening crystallises into something much more terrifying than the kind of shrill cinematic post-apocalypticism we’ve become used to through films like Fury Road.

What begins as a kind of paean to raving – replete with bass-thumping speakers (cranked in theatres to eardrum pounding loudness), a “cool” crew of trippers, and an emphasis on the free lives of the ravers (played by real-life party-goers) – rapidly descends into a wild existential nightmare. And the idea that life is a kind of free consumerist party for westerners is viciously dismembered in the second half: we are all refugees in this era.

Sirât is a masterpiece. Its stunning 16mm film images (courtesy of cinematographer Mauro Herve) are complemented by exceptional sound design by Laia Casanova, a majesty of image and sound demanding to be experienced in a cinema.

Written and directed by Lee Jung-chan and Kim Yeo-jung, the South Korean film Somebody is a puzzling, intense psycho drama about precociously evil child So-hyun (Gi So-yoo) and the pressures this places on her single mother........

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