The family that kills together stays together in this apocalypse with a twist
Directed by R.T. Thorne
Written by Thorne and Glenn Taylor
(MA), 113 minutes
★★★
For an illustration of how family values can co-exist with extreme violence, you couldn't do better than the opening of 40 Acres, the arresting first feature by the Canadian writer-director R.T. Thorne.
A group of scruffy guys armed with pistols sneak through a cornfield towards a farmhouse, plainly up to no good. Within a few minutes they've all been matter-of-factly slaughtered by the tight-knit clan defending their turf: former soldier Hailey (Danielle Deadwyler), her partner Galen (Michael Greyeyes), and their three kids.
'I got a headshot,' brags Cookie (Haile Amare), the youngest girl, as if discussing her score in a video game. Her mother reproves her for wasting bullets: 'Use your blade next time.'
These are, let's be clear, the good guys, in a post-apocalyptic world where it's necessary to do whatever it takes to survive. Or is it that simple? The quite original, if not especially credible, set-up devised by Thorne and co-writer Glenn Taylor is meant to challenge our moral certainties, for a while at least.
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We're in the aftermath of a pandemic, but not the kind that turns people into zombies. Indeed, the human race wasn't directly affected. But most of the animal kingdom has been wiped out, presumably including birds, fish and even insects, although I thought at one point I heard the sound of cicadas.
Anyway, if you want to eat you have only two options: you can raise crops, if you have the land to do so, or you can turn cannibal, which was the road taken by the unlucky marauders at the outset.
Those guys were all white, which holds special significance because Hailey is African-American – the farmhouse has been in her family ever since a 19th-century ancestor escaped slavery and fled to Canada – and Galen is Native American.
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