Given the current state of the world, it’s only natural that creatives of all stripes should start pondering hypothetical apocalypses. Much like the zombies that tend to inhabit these stories, some artifacts from the last boom a decade or so ago are still clambering along while others – including one currently in theaters – experienced a sudden reanimation. It’s tempting to slot 40 Acres along with the rest of those, but while it does feature a fungal plague and a rural setting, director R.T. Thorne’s debut pivots away from horror and instead into family drama with a tendency towards suspense. The familiar end-of-the-world framework provides much of the expected pleasures of a home-invasion story, but like all good horror or post-apocalyptic films, it’s also got a lot on its mind.

That much is clear from the title, a direct reference to the broken promise of “40 Acres and a Mule” as reparations for American slavery. It also refers to the location where the majority of this movie takes place: a Canadian farm run by the mixed family of Hailey (rising star Daniel Deadwyler) – the latest in a long line of Black farmers emigrating after the Civil War – and her partner Galen (Michael Greyeyes).

Their histories as former soldiers of various stripes emerges in the opening scene, as they and their children execute a defense run against raiders that would put Jake Sully’s family to shame. It’s a close-knit bunch out of necessity: in a future decimated by famines and wars, their ability to grow food has ensured their survival, but it’s also made Hailey an isolationist. Trading is only done at set drops where no one interacts, and her only real contact with the outside world is fellow farmer Augusta (Elizabeth Saunders). As portrayed by Deadwyler, Hailey’s a hard-ass who puts her kids – especially eldest son Emmanuel (Kataem O’Connor) – through rigorous training and lectures on everything from battle to farming. But crucially, she lets glimmers of light slip through, usually when on radio chats with Augusta but also with some of their younger children. It’s hard not to compare it a little to the recently released 28 Years Later in its depiction of parents caught between warmth and coldness. Both also feature genuine danger, here in the form of rumors that a cannibalistic gang has been ransacking farms on their small network.

Emmanuel is a growing teenager, so naturally when he spies a girl in a river he frequents the mind starts to wander, especially once she turns up on the farm. Rest assured, 40 Acres isn’t the kind of movie to spring some wild twist on us. Instead, Thorne and co. use it to probe at the whole disaster-preparation mindset. Surviving the worst is good and all, but what comes next? These conflicts aren’t necessarily new, and neither is the emerging theme of Emmanuel’s need to become his own person rather than the rigid symbol that’s expected of him, but they still resonate thanks to Deadwyler and O’Connor’s performances.

If nothing else, Thorne shows quite the knack at orchestrating tense scenes. An early highlight features a firefight in an abandoned military facility, with a particular event held just to the corner of the frame that provides an excellent jolt. Flashbacks come in like seamless transmissions from another life as a low-key indie drama, giving Hailey precisely the right amount of backstory and layering in the themes of racism and ancestral history.

So skilled is the direction that it almost doesn’t matter that the villains end up kind of weak by comparison. For as much setup as they’re given, by the time they hit the climax and dish out some pretty gnarly violence they can’t help but feel rather nondescript, with a leader who’s more functional than memorable. Even so, Thorne still manages to throw in a fantastic shootout in total darkness lit only by muzzle flashes, and a wonderful callback to a joke about the value of spices. He also gives Deadwyler the chance to throw out some very funny one-liners by the end, just enough to be self-aware without breaking the fourth wall. The ending sends us out on a high note, leaving us with a vision of family unity that suggests a brighter future for all involved. A little sappy to be sure, but it’s hard-won.