Oh Good, Another Dystopia

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In today’s world, there’s an abundance of dystopian narratives that it becomes challenging to tell one from another at times. For instance, in R.T. Thorne’s novel 40 Acres, we learn about a fungal pandemic that wiped out most animal life fourteen years ago, leading to a civil war, famine, and now a world where “the most precious resource is farmland.” While this setting may seem unique, the film’s desolation shares similarities with numerous works from the last decade or two. Characters reminiscent of Viggo Mortensen and Kodi Smit-McPhee from The Road, or Ralph Fiennes from 28 Years Later, could almost appear within the story. One might even speculate about the arrival of Furiosa or war correspondents from Civil War. Despite their differences, these post-apocalyptic stories can produce a sense of weariness and familiarity due to their common themes.

40 Acres” is a Canadian film that offers a unique perspective on an apocalyptic situation, although many of its actions adhere to common patterns. With fertile land scarce and danger lurking from marauders, Hailey Freeman (Danielle Deadwyler), a former soldier, and her First Nations husband Galen (Michael Greyeyes) maintain strict discipline over their family which includes Hailey’s grown son Emanuel (Kataem O’Connor). All the children know how to defend themselves and handle firearms. They are instructed to read “The Proletarian’s Pocketbook”, a real handbook containing motivational quotes from notable revolutionaries such as Karl Marx and Malcolm X, and to be wary of strangers immediately. The film’s title hints at a deep history: Hailey’s ancestors settled this land in Canada after fleeing Georgia following the first Civil War. The revolutionary posters and literature scattered throughout their home aren’t merely symbols of rebellion; they also reflect this family’s justified mistrust towards institutions and others. This proves beneficial in their current situation: The film opens with the family fending off a group of hostile individuals (including one woman) who attempt to approach the farm. It is mentioned that cannibal gangs lurk in the peaceful countryside.

Although it may seem like a typical action or thriller film due to certain genre undertones, this movie primarily focuses on Hailey’s unyielding tough love and her reluctance to engage with the outside world, both physically and spiritually. Hailey frequently communicates via CB radio with a local farmer (Elizabeth Saunders), who has taken in some strays, but Hailey remains resolute in guarding her solitude. This isolative behavior creates tension with Emanuel, who becomes increasingly curious about the area and desires to interact with people. One day, Emanuel encounters a beautiful young woman (Milcania Diaz-Rojas) swimming in a nearby river, resembling a common plot setup in post-apocalyptic films – the overprotective parent is almost a subgenre by itself nowadays.

In other movies, Deadwyler has demonstrated her vast acting skills, but in this role, she portrays such an intense character that her performance feels repetitive and disappointing. Greyeyes brings a warm, down-to-earth charm to his character, which softens Hailey’s stubbornness. Galen is a man who gets excited about finding hidden spices (exclaiming “They kill for this!” as he holds up a jar of saffron, an announcement that will later prove true) and becomes enraged in a comical manner when his children discover old fast-food sauce packets. This contrast is intriguing, and it’s a shame the film didn’t provide more scenes showing Galen and Hailey interacting or offering a glimpse into their family life beyond their constant rituals and somber readiness for what’s to come.

In a nutshell, Director R.T. Thorne possesses an aptitude for compelling visual compositions, skillfully maneuvers his camera, and excels in choreographing efficient action sequences – talents that are expected to benefit him in the long run. However, the film “40 Acres” hints at a grittier, more captivating movie than it actually delivers. The portrayal of race within a post-apocalyptic society is undeniably intriguing, but the movie largely fails to fully explore this topic and instead relies on conventional action sequences and forced dialogues. (The film also neglects to delve into the paradox between this family’s supposed activism and their isolation.) Most crucially, the characters remain underdeveloped, as does the plot, which is confined within Hailey’s stern gaze and routine action-oriented confrontations. While technical prowess is essential, a story centered around parents and children, particularly in such dire conditions, should brim with emotional depth and human connection to justify its existence. If not, it merely becomes another apocalyptic tale.

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2025-07-03 22:54