R.T. Thorne’s latest is “a film we should be proud of” and “a big step forward for Canadian cinema” says Kevin Bourne in his 40 Acres film review.
Although Hollywood is full of Canadians who have become well-known filmmakers and box office stars, Toronto and Vancouver have become desirable places to shoot big Hollywood films, and Canada offers competitive tax credits and grants, it hasn’t yet translated into a thriving filmmaking scene here in Canada; at least when it comes to star-making and mainstream success. This is especially true for Black filmmakers and producers, who often complain about their inability to access grants and other resources. Still, if the Toronto International Film Festival is any indication, things are looking up.
One of the Black Canadian films screening this year at TIFF is R.T. Thorne‘s latest titled 40 Acres which has generated buzz among Black and non-Black viewers alike. It’s executive producers and producers features a who’s-who of Black Canadian film, including Taj Critchlow, R.T. Thorne, Danielle Deadwyler, Sudz Sutherland, and Jennifer Holness, with Sutherland and Holness’ Hungry Eyes Media listed as the production company on the project.
Starring Danielle Deadwyler, Kataem O’Connor, Michael Greyeyes, Milcania Diaz-Rojas, Leenah Robinson, and Jaeda LeBlanc, 40 Acres is a thriller set in a post-apocalyptic world facing severe food scarcity after a series of plagues and wars. With food hard to come by, farm land and even spices have become valuable commodities. The Freeman family, including former soldier, Hailey (Deadwyler). her partner Galen (Greyeyes), and their children must defend their farm from a cannibalistic militia who is set on taking their land. Hailey’s plan to keep her family safe by shutting out the outside world is tested when her son Emanuel (O’Connor) meets a beautiful young woman named Dawn (Diaz-Rojas) who is in need of help.
First, let me say, this film is like nothing we’ve seen in Canadian cinema before. Aside from its dark, post-apocalyptic setting and cinematography, it stands out for how it seamlessly blends Black and Indigenous culture. Although there are some similarities between the experiences of Black and Indigenous people, they rarely share scenes in Canadian film and television. Deadwyler and Greyeyes playing Black and Indigenous love interests and partners is something we need to see more of. The film also shows Galen speaking his Indigenous language at home, which is something we also don’t see a lot of in Canadian cinema.
Although there were solid performances all around, Deadwyler, Greyeyes, and O’Connor stood out. Danielle Deadwyler, who also appeared at TIFF in Malcolm Washington‘s directorial debut The Piano Lesson, brought intensity and passion to every scene and was believable as the former soldier turned mama bear. Michael Greyeyes brought a steady hand in his depiction of a loving father and husband, and fierce warrior who wanted all the smoke. Meanwhile, Kataem O’Connor did an excellent job playing the wise leader in training who is coming into his own while drawing from the best of his mother and stepfather.
Now, there are some scenes with violence, but it’s not excessive given the world the film is set in. Plus, who doesn’t want to see a Black and Indigenous family kick some ass?
Overall, 40 Acres is a film we should be proud of. In some ways, it’s groundbreaking and a sign of Canada’s growing potential for telling thrilling and exciting stories with mainstream appeal. Not only is it a big step forward for Black Canadian cinema, but a big step forward for Canadian cinema period.
Kevin Bourne is SHIFTER’s Toronto-based editor and Senior Entertainment Reporter focusing on Black music and film & TV. He was named one of 300 international voters for the 81st and 82nd Golden Globe Awards by the Golden Globe Foundation and a Tomatometer-Approved Critic by Rotten Tomatoes.
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