At last. Somebody has read our minds and put Martin McCann exactly where he belongs: under a classic mullet as the hero of a post-apocalyptic thriller.

As Stephen Fingleton's excellent drama begins, the hitherto under-utilised Irish actor is holed up in a small wooden cabin that may be situated, we suspect, not too far from Conor Horgan's similarly-themed One Hundred Mornings.

Opening scenes that are almost as precise as our hero establish ruthless self-sufficiency and the sometimes unorthodox care he takes of his small crop. We know, too, that he will not flinch from protecting his homestead.

Inevitably, others come. A middle-aged mother who introduces herself as Kathryn (Olwen Fouéré) and her younger daughter, Milja (Nymphomaniac Vol 2's Mia Goth) arrive seeking shelter. When seeds won't persuade the reluctant host, Milja is offered instead. The reclusive farmer agrees and the women make themselves, uneasily, at home. An alliance forms, plots are hatched, allegiances shift: a Mexican stand-off based on needs and foraged mushrooms ensues. Trying, impossible days make way for dangerous nights. A series of nerve-wrecking set-pieces reminds us that whatever dangers lurk indoors are preferable to the lawlessness without.

Mad Max: Fury Road required $200 million dollars and heaps of CG bells and whistles to realise what The Survivalist conveys with salvaged everyday objects, bodily fluids, violence and carnality. An already earthy film, offset with animalistic impulses, is punctuated by Damien Elliot's stealthy tracking shots through verdant wilderness. The storytelling is pitilessly and commendably economic.

A triumvirate of splendid actors articulate the grim circumstances of their characters: occasional glimmers of humanity do not overshadow their hardened, practical, and base sensibilities.

This is Stephen Fingleton’s first feature: we can’t wait to see where he goes from here.