40 Acres: A Strong Family Post-Apocalyptic Thriller

Post-apocalyptic movies can come in all shapes and sizes as there are so many ways to imagine the world ending, maybe even more so nowadays. For the most part, the foundation of these films consist of hope and the power of the human condition through the lens of overcoming adversity as a means of survival. Though that journey has been traveled countless times in the past, given the right set of circumstances, any film could still succeed. Coming out of Canada, 40 Acres, the feature directorial debut of R.T. Thorne (also co-writing), joins the fray, delivering a compelling generational family tale about survival under the harshest of conditions.

An indie through and through, the film uses this to its indie sensibilities to its advantage, employing its isolated setting not only to allow audiences to better hone in on the family dynamic at its heart, but also to add an inherent tension surrounding the unknown of who or what lied ahead in the distance. Being a part of a well-oiled machine, functioning to keep the family safe amidst the chaos and potential dangers of the unknown world that surrounded them, it was only a matter of time until the survival of that machine would be in jeopardy. Led by another powerhouse performance from Danielle Deadwyler, this survival action thriller excels off the strength of its performances, making for a family worth caring about.

Set in a post-apocalyptic future where food has become scarce, 40 Acres is centered around a family coming from the last descendants of a Black family of farmers who settled in Canada after the Civil War. The Freemans, led by matriarch and former soldier Hailey (Deadwyler), continue to thrive on their own in spite of the plagues and wars that surrounded them. Confined to the safety of their fortified farm in the middle of nowhere, they were mostly left to their own devices, except for the occasional party of raiders. As farmland proved to be a valued commodity, this put a target on them, and other nearby farms, that only grew larger as resources became more scarce and people grew more desperate to survive. Escaping the collapse of society and taking their children to the refuge of the farm, Hailey believed isolation was the only way to protect her children but that isolation would inevitably take a toll on her family. All they had was one another, and she considered that to be enough.

As Hailey and her new husband Galen (Greyeyes) worked to train their children on how to survive, they took on her distrust of others thus keeping them isolated. In the meantime, the Freemans were a formidable team, amassing resources, either scavenging or tending to their own farm, while defending their land from anyone or anything that threatened its livelihood by any means necessary (often in brutal fashion). Ultimately stunting their development for the sake of their safety, that smokescreen could only last so long. Hailey’s eldest son Manny (O’Connor), now a young man, was heavily relied upon whether he wanted or was ready for the added responsibility or not. Ruling her family with an iron fist, Hailey put a lot of pressure on Manny, as well as her other children to act and behave the right way in contributing towards the family’s survival. However, cracks began to form in her narrative about others as Manny’s extracurricular activity led him to young woman named Dawn (Milcania Diaz-Rojas).

Sparking Manny’s curiosity, and other feelings, Dawn appeared to be a part of a nearby farming community. That being said, the feeling of distrust set by his mother remained in the air as the reputation of his family preceded him and her true motivations were unclear. In the midst of Manny’s discovery, an unknown group of survivors, turned cannibals, have continued to reap havoc on the local farming community, killing everyone and everything in their wake. Left vulnerable, the Freemans were no longer a united front, creating a perfect storm that also left their farm vulnerable for an attack. Putting the family to the test, a thrilling climax saw them truly come together as they were forced to defend their farm and the community as a whole. Marking a stark contrast from Hailey’s shoot-first and ‘don’t trust others’ philosophy, having her tap into her past experience as a soldier to dispatch hoards of enemies was exciting to watch, but she played only a part in what was an action-packed final act that gave all the Freeman family members a chance to shine.

In the end, the best part of 40 Acres is the aforementioned powerhouse performance from Deadwyler as Hailey. Ruling her family with an iron first, those feelings were deeply-rooted by the fear of losing those closest to her. Her prime motivation in keeping everyone safe, her grip was perhaps too tight but audiences can empathize with her reasons in doing so. No stranger to hardship, the film certainly could have dug deeper as it only scratches the surface with her. Though for what the film lacks, Deadwyler makes up for in her command of the screen, bringing the kind of force that can be both riveting and heartbreaking. Meanwhile, where the indie budget could have played a part was in the film’s failure to establish a backstory for its world and the circumstances that led to it becoming what it was. Using isolation to keep its characters away from much of that, audiences who grow tired of the limited setting may be left wanting more. However, the Freeman dynamic is what will keep audiences seated. O’Connor is a revelation as Manny, presenting a different perspective that would force the family to adapt and evolve in order to survive. Greyeyes, as Galen, thrives in a meaty role that utilizes his effortless charm, comedic timing, and general badassery.

40 Acres brings something new to the table, working as both an intense survival thriller and a compelling family drama, strong writing and a new vision from Throne, making the most out of its circumstances, help craft one of the best post-apocalyptic films in recent memory and one of the best Canadian films.

still courtesy of Mongrel Media

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Keith Noakes

The EIC of the coincidentally-named keithlovesmovies.com. A Canadian who prefers to get out of the cold and into the warmth of a movie theatre.