A dystopian survival film that expands the lens of Canadian cinema

In a cinematic landscape yearning for fresh perspectives, 40 Acres, the debut feature from Canadian director R.T. Thorne arrives as a groundbreaking force. More than just a post-apocalyptic thriller, this film pulls audiences into the heart of a resilient Black and Indigenous family, redefining representation, challenging historical narratives and championing the enduring power of land and identity while being a gripping watch.

Named one of TIFF's top Canadian films of 2024, 40 Acres opens in theatres today. Its inspiration, however, stemmed from a cinematic void. "I hadn't seen these relationships portrayed in film in any great detail and I wanted to see them in the future," Thorne explained in an interview with CBC Arts. 

"There are so few stories that are centred around both Black and Indigenous communities in the future. If we are there, it's only because another filmmaker that looks like us has made that film."

His vision was deeply rooted in recognizing the colonial trauma that connects Black and Indigenous communities. As the story evolved around a farming family protecting their land in a shattered post-apocalyptic world, Thorne felt he "had to honour the history of Indigenous and Black communities coming together and sharing cultural processes and connection."

40 Acres is a dystopian thriller that follows the descendants of African American farmers who settled in rural Canada following the American Civil War. The animal population has been wiped out by a pandemic and farmers have to grow their own crops to survive. Hailey Freeman (played by Danielle Deadwyler) and her husband Galen (Michael Greyeyes) have acclimated to the new world order, raising their children in isolation while trying to protect their land. The film also stars Kataem O'Connor, Milcania Diaz-Rojas, Leenah Robinson and Jaeda LeBlanc. 

For Thorne, who co-wrote the screenplay alongside Glenn Taylor, the film was an opportunity to project vital, underrepresented relationships into a speculative future. He pointed out the scarcity of such stories, particularly in fiction. 

"I wanted to see a family that was blended," Thorne said, "that had a shared culture, an amalgamated culture, one that's respectful of both and see how they live and see how they preserve themselves, because in the future, it's not just about preserving your lives, it's about preserving your identities. And we have a long history of also practicing very similar things in our music, through our agricultural practices, through our languages, through our oral histories. Those are all things that people do to preserve their identity and their culture."

This sentiment resonated with Deadwyler, who turns in a solid performance as the tough-as-nails matriarch and military veteran Hailey. For her, the film's core themes were timely. "What does it mean to defend family, to fight to be together, to think about the history and the legacy of one's contributions on land?" she listed. "What does it mean to craft and hone this kind of nucleus and to be connected to land? It was something that was very deeply touching to me in a personal capacity and thinking about my own family." 

Greyeyes, who delivers a nuanced performance as the patriarch Galen, described his experience on the film as "so gratifying and so powerful." He pointed out how the film's themes connect to the historical reality that "land equals wealth," the broken promise of land to Black populations (the infamous "40 acres and a mule") as well as the complex land history of Indigenous peoples in Turtle Island. "When you're landless, you don't have power," he said. 

But 40 Acres boldly subverts these historical power dynamics. In a deliberate reversal, the Afro-Indigenous family, who own the land, are depicted as the most powerful and successful people in the region. Greyeyes emphasized how this choice bucks the trend of representing Afro-Indigenous families who are haunted by colonial trauma. "Actually, we flipped it on its head. They are powerful. They're the models of success."

Beyond the film's broader statement, Greyeyes found rewarding personal ground in his character. He particularly appreciated the opportunity to infuse Galen with humour, a trait often absent from stoic Indigenous portrayals. "Our humour is so present in the way we relate to each other," he said. "Our own stories [are] full of humour." 

"[Galen] wasn't just this strong, tough, capable partner to Hailey," Greyeyes said, "but he was mercurial at times and quite wry about trying to survive in a world where there's cannibals and immense violence. So, for me, that was an unusual place to find myself as a Native actor, and I was so gratified to be able to play it." 

Thorne, in turn, revealed that Greyeyes was his only choice for the role, recognizing the unique "grounding presence he brings to all his roles."

For her part, Deadwyler's portrayal of Hailey is a profound exploration of Black motherhood in dire circumstances. "I see it so much in this current society, what it means to be a Black mother and to try to keep your children alive," Deadwyler explained. "As a person who has done the kind of films that I have, I've interfaced with a lot of people who are impacted by the story, too. I've had a conversation with mothers who have lost their sons — or daughters for that matter — but largely sons. That is what Hailey is trying to prevent in a completely different context." 

Deadwyler understands Hailey's fierce drive to protect her children from the "cannibals, violent, fear-mongering, hateful folks coming across their boundaries." Hailey teaches her children not just survival tactics, but a deep-seated resistance, educating them with lessons from figures like Toussaint Louverture, leader of the Haitian Revolution, and texts like Octavia Butler's Parable of the Sower. 

Working with Thorne was a deeply valuable experience for Deadwyler. She praised his directorial sensibilities: "He's calm. Everybody isn't calm. He's got steadfastness and flexibility." For Deadwyler, this indicated his "unbreakable" spirit as an independent filmmaker.

Thorne holds a clear vision for 40 Acres within the broader landscape of Canadian cinema. While recognizing that his Canadian roots will organically influence his storytelling, he firmly believes filmmakers should "not try to limit themselves to what they think a Canadian story is."

"I had never seen a thriller that had some of these components from here before. I wanted to try to create that. I wanted to make a thriller that had heart in it, that was exciting, that was funny…. We can do these stories for sure and we can make them speak about things that we're not seeing in American cinema or European cinema."

Greyeyes echoed this sentiment, championing Canadian independent cinema as "completely unique." He explained that 40 Acres has no precursor, calling it a "unique statement." He hopes it will inspire copycats and create a new genre that celebrates the historical experiences and cultural expressions of these communities.

40 Acres stands as a testament to bold storytelling, exploring complex themes of identity, land and survival through the lens of a uniquely Black Indigenous experience. It's a thrilling and deeply resonant film that not only entertains but also marks a significant contribution to contemporary Canadian and global cinema.

40 Acres is in theatres now.