Writer-director R.T. Thorne brings us 40 Acres, an extraordinary tale of how a family of five defends their farm from intruders in a dystopian future with historical implications.
The landscape is set after the intro reads as follows: “14 years ago a fungal pandemic decimated 98% of the animal biosphere. 12 years ago a second civil war broke out as a result of a global food chain collapse. 11 years ago famine spread across the planet. Now the most valuable resource is farmland.”
A group of traveling ne’er-do-wells trespass fully armed on a stranger’s farm. One of its members attempts to convey that their presence is temporary as they’re just passing through. It didn’t take long before the armed men started dropping like flies; some by gunshot, others by blade. That’s how we’re introduced to the Freemans.
The six-member clan guards their property ferociously, boasting video surveillance, electric barbed-wire fences, and a variety of weapons. Hailey (Danielle Deadwyler) is a former soldier and chooses to isolate her family as a means of protection. Together with her partner Galen (Michael Greyeyes), they train their children to meet force with force via close-quarter fighting techniques and gun training. As a bonus, they know how to farm.
The film is broken down into four chapters: The Boy, The Girl, Augusta Taylor, and Family. “The Boy” follows the lone son in the Freeman clan, Emanuel (Kataem O’Connor), who also goes by Manny. As the only son and the eldest, a larger part of their already long list of responsibilities falls on him. He’s strong in all areas of fighting and farming, but his Achilles heel is his longing for companionship. Having to constantly keep his feelings in check, his solitude starts to become something of a nuisance.
This fear worsens after seeing a young lady in the river. After having a nightmare about a decaying horse, we’re quickly whisked alongside a quad to the tunes of Canadian rapper k-os as Emanuel performs a perimeter check. During a rest break, he sees a young woman (Milcania Diaz-Rojas) rise from a river and casually walk back to an encampment. That “Girl” is Dawn. Her involvement leads to the final two chapters, “Augusta Taylor” and “Family”.
Finding gaps or shortcomings in the film proved difficult. If anything could be noted, it would be a few choice lines of dialogue from Greyeyes, but they were meant as “dad humor” (any weak attempt at humor was an interaction with his daughters). Speaking of which, Raine (Leenah Robinson) also had a notable performance. The mix of youthful exuberance, naivety, and killer instincts boded well for her character, reflecting her growth in confidence from beginning to end. Deadwyler was stone-cold lethal in this film and excelled in her role as Hailey. You could feel the intensity in her looks with that trademark stare. Her uncanny dialogue balanced serious intent with dry humor. Her flawless portrayal of a scornful soldier, skeptical of strangers and secure in her dubiety, left an indelible impression. She was exceptional.
The film is a beautiful blend of dystopian possibilities and historical significance—Black and Indigenous people defending their land from invaders. Fans wanted more Cuffie (Deadwyler’s character from The Harder They Fall), and they got it. The cast (predominantly Black and Indigenous), plot, and soundtrack are like a dream come true. This is the “sleeper” film of TIFF 2024 without a doubt.
40 Acres gets a 9.5 out of 10. Deadwyler was also an executive producer on the film along with Taj Critchlow, R.T. Thorne, Sudz Sutherland, John Lang, Mark Gingras, and Andrew Frank.
40 Acres premiered on Sept. 6 at the Toronto International Film Festival. Here are the remaining screenings during the festival:
Sept. 7 – Scotiabank Theatre at 9:00 PM
Sept. 12 – Scotiabank Theatre at 8:45 AM (Press & Industry)
**Update**
40 Acres was released widely in the U.S. on July 2, 2025
Canada release – July 4, 2025
UK release – August 1, 2025
-Jon Jones
Photo: Courtesy of TIFF