Inheritance

Norra (Victoria A Villier) is celebrating her 18th birthday with her father and older brother in their quiet rural home. It's a big occasion for them as well as her, for two reasons. Firstly, she is about to become a property owner for the first time, something that meant the world to he father when he was able to achieve it. Secondly, her life is about to change in ways she hasn't anticipated, and so they need to have a talk.

Having the talk is a right of passage for African Americans - the moment, whenever it comes, when their parents first make it clear how racism is likely to affect them and what they must do to stay safe - but here it's slightly different. The family cabin is in the middle of nowhere, with no immediate threat from racist cops or gangs of neo-Nazis. The threat here comes from the dead.

This isn't a zombie movie. Director Annelise Lockhart is interested in exploring something subtle, more psychological. The ghosts who haunt the area merely watch, but what does that watching mean? There's a proprietary aspect to it - white people who, even after death, can't accept that the land might have passed into the possession of Black people - and also a prurient one. Being observed all the time does it own kind of damage. But Norra's brother has idea. There might be a way for them to use technology to reclaim their privacy.

An evocative, atmospheric film which packs a lot into its short runtime, Inheritance has garnered praise at the likes of SXSW and Sundance, and is screening as part of Fantasia 2021. Its sensitively crafted narrative is supported by a strong cast, with Villier really making her mark in what is only her second screen appearance. With a measured gaze which sometimes reflects the voyeurism of the ghosts, Lockhart marks herself out as one to watch.