Sarah convinces Paul that it makes sense to invite this family to take shelter with their own, not least because the newcomers have livestock and chickens to offer. One night the family’s home is broken into by a stranger named Will (Christopher Abbott), who, under rough questioning from Paul, claims he’s seeking water for his wife and small son living 50 miles away. He misses his grandfather, confides his secrets to his grandfather’s old dog, and dreams about, among other things, pretty girls-though Travis’ frequent dreams, filmed in rich chiaroscuro by cinematographer Drew Daniels, have a way of ending in stark images of body horror. Their 17-year-old son, Travis (the remarkable Kelvin Harrison Jr.), through whose expressive eyes much of the story unfolds, is as normal a teenager as a kid in a post-apocalyptic hellscape can be. His wife, Sarah (Carmen Ejogo), loses her own beloved father to the plague in the first scene, and Paul’s swift and unsentimental disposal of the body makes it clear he isn’t playing around when it comes to his family’s safety. He’s a devoted husband and father, but having to battle the constant looming specter of death hasn’t done wonders for his parental warmth. The hypervigilant patriarch, Paul (Joel Edgerton), runs the house like a military camp. They venture outside only to chop firewood and fetch water, wearing gas masks to protect against the mysterious illness. All that seems to be left as the film opens is one family, boarded up in what was once a lovely house in the woods.
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