40 Acres Review
It’s a phrase that’s crept into the headlines and everyday use, yet we’ve hardly noticed. “Food security” now keeps company with today’s other major global issues – climate change, conflict and economic instability. It makes the arrival of what seems to be yet another post-apocalyptic thriller acutely topical, because food is right at the heart of 40 Acres – and there’s more to come.
In R.T. Thorne’s impressive debut feature, the world is struggling with the after-effects of a vicious pandemic. In the 14 years since it all but destroyed animal life on the planet, there’s been a civil war caused by a constant global food shortage, and agricultural land is now the most valuable of resources. Guarding their own supply, the 40 Acres of the title, are Hailey Freeman (Danielle Deadwyler), her partner Galen (Michael Greyeyes) and their children. Life is tough, a combination of making the most of the land and protecting it from increasingly widespread marauders who will stop at nothing to grab anybody’s farm. As one particularly savage band slaughters their community and heads in their direction, the family have to make their last stand against those intent on taking everything from them.
The post-apocalyptic set-up is familiar – we’ve just recovered from the ravages of 28 Years Later – but Thorne has intelligently enriched it with cultural and historical themes. Echoes of the Civil War from the 1860s and slavery ripple through the film, emphasised by the family’s surname and, while they’re predominantly black, the father comes from an indigenous tribe and is proud to teach his children the language of his ancestors. Yet, despite the lessons of history and more recent devastation, some things haven’t changed: the marauders threatening their lives are white, and it’s a visual message that’s impossible to escape. The fact that they’re also cannibals gives 40 Acres a stab of horror, but one that’s never overplayed, so that it remains a tautly and carefully crafted thriller.
The visuals are strong. There’s a crucifixion that thankfully doesn’t quite go according to plan and two intense gun battles, one in total darkness with the occasional flash of light and the other in deep gloom where everybody involved – and that includes the audience – can only see menacing shapes. The approach is simple; the result is terrifying. Even more ferocious, however, is Deadwyler as the mother, with huge eyes that simultaneously speak of fear and total determination. It’s a formidable performance that dominates the screen and reminds us that her absence from the Oscars for Till (2022) was one of the worst omissions of recent years. She’s beautifully balanced by Greyeyes, who has just as much courage and resilience, but reserves it for when he needs it, concealing it under a more benign, gentle exterior.
With its relentlessly foreboding atmosphere and strong cast, both individually and as an ensemble, the film easily overcomes the occasional plot wobbles and moments of over-familiarity. Thorne has brought us a film that treads the same path as many others, but which is layered with complexity and atmosphere and simply never allows you to take your eyes off the screen. His arrival is more than welcome.
★★★★
In cinemas from August 1st and digital from August 4th / Danielle Deadwyler, Michael Greyeyes, Kataem O’Connor, Milcania Diaz-Rojas, Leenah Robinson, Jaeda LeBlanc, Elizabeth Saunders / Dir: R T Thorne / Vertigo Releasing / 15
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