Freeland

There isn’t a false note in any of the film’s performances, and within its brief running time, writer-directors Mario Furloni and Kate McLean infuse this story of the changing culture and economics of pot production with an anguished depiction of generational displacement.

It’s a contemplative film that manages to whisk the audience away to an unfamiliar land whose off-the-grid survival you can’t help but root for.

Freeland builds from its humble start to a wrenching conclusion, and eventually coalesces into a poignant, understated character study about the destructive collision of nostalgia and regret — a stoner midlife-crisis drama that fully belongs to the era of legal weed, and what happens when people get screwed by it.

Where Freeland is an unadulterated success is in capturing the physical, psychological and spiritual space Devi inhabits.

It’s the sublime and understated performance by Krisha Fairchild (Krisha, Waves) as the aging pot farmer Devi Adler that elevates Freeland past its potential as a tone poem cliche into a far more arresting portrait of the old versus the new and beyond.

Freeland is a film many can identify with, even if you’ve never picked up a pipe or bong. It’s a universal story, a timeless tale about anybody who’s napped a little too long and woken up to realize the working world has changed and might have no place for you in it.

At their best, writer-director Mario Furloni and Kate McLean evince a masterful grasp of storytelling that’s subtle and rich in innuendo.