Freeland

Devi is a relic. She’s been cultivating legendary pot strains on her farm for decades, but those days are over. Marijuana is legal now, and growers have to be legit too. Devi (Krisha Fairchild) has been a black-market producer for so long she doesn’t know anything else. Her small outfit certainly doesn’t have the funds to be retrofitted to government standards. She’s getting hit with fines she can’t afford left and right, she’s begging her small contingent of transient pickers to accept deferred payment, she’s desperately trying to find a buyer for her product, she’s scrambling to keep her land, all while racing to bring in this harvest, which may be her last.

Freeland isn’t really a movie about the rapidly-changing cannabis industry, that’s just an interesting backdrop for an intimate character portrait. It’s not just Devi’s farm which has become obsolete, it’s her too, or at least that’s how she feels as she loses her grip on the market, her community, even the hired hands with whom she’s usually quite friendly. Her sense of paranoia and otherness grows until she loses control. Fairchild is of course a big reason why this works. Directors Mario Furloni and Kate McLean trust her to do the work, to embody a formidable woman who will not go gently into that good night.

If her long gray hair a past dotted with orgies doesn’t convince you, maybe the mason jars of money buried around her property will: Devi’s a hippie, a holdover from a different time and place. But make no mistake, she’s not all peace and love. No stranger to a gun, Devi’s prepared to go down fighting, and Fairchild has us believing in her commitment so much we’re on the edge of our seats, equal parts fascinated and terrified to find out how this all ends.

Furloni and McLean allow Devi to be a multi-faceted protagonist, but if she’s not always likable, they do always spare her some empathy. This is an outsider’s story, a rare gem that makes excellent use of its elderly protagonist, who may be old, and may be down, but isn’t ready yet to count herself out.

** Debuts in select theatres October 15th **
On Demand everywhere November 19th

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