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Somewhere between the dystopian dreamscapes of Andrei Tarkovsky’s Stalker, the gothic western intrigue of Don Siegel’s The Beguiled, and the low-budget invention of Shane Carruth’s Primer lies this impressively unforgiving debut feature from Derry-born writer/director Stephen Fingleton. Set in a nonspecific future in which depleted mankind has reverted to a subsistence-level existence, this Bafta-nominated sci-fi anomaly is a bleak parable about the price of food, sex and shelter in a post-civilised world. Although the title seems at first to apply to Martin McCann’s unnamed loner who ekes out a solitary existence in a woodland shack, it could equally apply to any of the three central characters who form its dramatic core. Telling its tough tale through gesture and action rather than dialogue (George Miller’s Mad Max: Fury Road is talkative by comparison), The Survivalist is a stripped-down exercise in cinematic exposition that suggests its creator is a major talent in the making.
As with the 2014 short film Magpie, whence The Survivalist springs, we open with animated red and blue lines (one representing population, the other oil production) outlining humanity’s catastrophic rise and fall with haiku-like concision. From here, we meet McCann’s scavenging antihero whose land is littered with the composted bodies of those who have trespassed upon it. There is no music to tell us how to feel about him – only an expressionist soundtrack that emphasises the ambient hum of nature (rain, birds, trees, breath), the Earth having flourished amid mankind’s decline. There’s a hint of Terrence Malick’s The Thin Red Line in the juxtaposition of human brutality and natural vitality, a sense that will be amplified later when Damien Elliott’s camera drifts between combatants over a verdant field of grass. Man’s nature may be red in tooth and claw, but this is a world of green, brown and blue, its pastoral hues out of step with the more generically arid post-apocalyptic palette.