Starring: Slavko Sobin, Olive Gray
This debut feature film from filmmaker Thea Gajic shows bold tenacity in delivering an unflinching glimpse into the world of trauma, addiction, and the human search for peace.
In Surviving Earth, Slavko Sobin plays Vlad, a charismatic but troubled soul. A Yugoslav refugee living in Bristol, where he works as a counsellor for drug users. A former user himself, Vlad is slowly building a new life for himself as a harmonica player in a promising local band whilst also repairing and maintaining a fresh relationship with his daughter Maria (Olive Gray). This new chapter in his life, however, is as delicate as his treasured harmonica, with the various ordeals of his past threatening to upturn him at any point.
Gajic shows herself to be a capable dramatic storyteller with Surviving Earth, delving deep into the grim reality of life as a former addict and how the person’s relationships become forever fragile. There’s an authenticity here that eschews the volatility that some addiction films promote, instead leaning heavily into the unpredictability of life and how this can derail a troubled person without much effort.
Vlad’s precarious peace is in constant danger, whether it be from the council looking to get money from him for his vacant second bedroom (a controversial tax in the UK), or being in the presence of drugs and alcohol through his involvement in the Bristol music scene. It’s Vlad’s support network that plays the essential secondary character here, though, such as his anxious daughter who is constantly poised for her dad’s relapse, or his bandmates who enjoy a jovial banter in the most part but who are also musical comrades for life.
The tone of the film is bleak and the grim urban landscape of Bristol does little to alleviate this. One saving grace is the music scenes, palpably injecting life into the piece and showcasing art’s ability to transcend life’s wretchedness. Vlad’s goal to put on a headlining show for his band gives him “something to look forward to”, one of the three parts of his mantra (the others being something to do and someone to love).
This powerful life motto helps to better understand Vlad’s need for structure and order in his environment. This drive from the central character also allows for some comedic eccentricities to enter the frame, such as Vlad’s reluctance to use self-service checkouts or pay for things digitally. More of these lighter moments were needed to balance the otherwise disheartening atmosphere that envelopes the viewer during the movie.
Thea Gajic utilizes the classic “Choose Life” poster from Trainspotting in Surviving Earth and that gives you a fair indication of the route from that 1996 classic to this 2025 tale. Whilst the former is an exciting cacophony of cinematic prowess, Gajic’s film is more understated, at times painstakingly patient, and deeply affecting.