Some films grab you from the first frame — 40 Acres had me locked in from the jump.
Directed by R.T. Thorne in his feature debut, 40 Acres is a genre-bending, post-apocalyptic thriller that puts Black and Indigenous survival at the center. But beyond the genre, it’s a gripping story about land, legacy, and what it means to protect your own when the world has gone silent.
Danielle Deadwyler plays Hailey Freeman, a former soldier-turned-matriarch who is not here to play. From the moment we meet her, there’s no mistaking it — survival is her mission, and love is her strategy. Hailey and her husband Galen (played with grounded strength by Michael Greyeyes) have turned their rural Canadian farmland into a fortress — not just of protection, but of intention. They’ve built an ecosystem, a routine, and a deep respect for nature and community.
And that’s what makes the film so powerful. It doesn’t just show survival — it shows thriving. Even in a world ravaged by plague and famine, this family has found a way to hold on to joy, culture, tradition, and each other.
Let’s talk sound — because 40 Acres uses silence better than most films use score. The stillness, the footsteps, the sounds of wind and breath and tension — they’re all part of the storytelling. It draws you in, makes you listen, makes you feel every leaf crunch and door creak. It’s immersive in the best way.
There’s also this brilliant visual symmetry — the isolation of the land juxtaposed with the closeness of the family. It makes you feel like you’re intruding on something sacred. You believe in this family, in their dynamic, and in their right to this land — which makes the looming threat feel even more chilling.
The family’s underlying reminder is rooted in real history: Black people who after being denied reparations post-slavery, and Indigenous ancestors with land stolen and legacy erased. The title 40 Acres isn’t just a callback — it’s a reclamation. And the film honors that with every scene.
Deadwyler delivers, as always. There’s no role she can’t hold, and this one lets her tap into raw leadership, maternal warmth, and sharp survival instincts — sometimes all in the same scene. Michael Greyeyes matches her beat for beat, but the standout surprise? The children. The performances by the younger cast members — especially Kataem O’Connor as the eldest son — ground the story in a generational tension that’s both relatable and heartbreaking.
The fight scenes? Sharp, emotional, and earned. The stakes are clear. Every blow means something.
But for me, the heartbeat of the story lies in the mother-son dynamic. It’s a beautiful yet heartbreaking arc about trust, transformation, forgiveness and letting go when the world doesn’t feel safe enough to do so. There’s also a subtle but poignant thread about change — how it can fracture the strongest foundations or become the reason you adapt.
If you’re looking for a fresh take on dystopia that isn’t afraid to bring the cultural weight with it, 40 Acres delivers. It’s not just timely — it’s timeless.
In my opinion… this is one of the best films of the year.
Have you seen 40 Acres? It’s now playing in theaters. Drop your thoughts — or better yet, go watch and thank me later.