The Unsettling Familiarity of ‘Is God Is’

Aleshea Harris’s “Is God Is” stands out as a powerful and unflinching portrayal of Black American family dynamics in an industry often criticized for its lack of representation. The movie follows the story of fraternal twins Racine and Anaia, played by Kara Young and Mallori Johnson respectively, as they seek revenge against their abusive father.

The film’s central theme – that Black men are often excused for their transgressions while Black women bear the brunt of abuse – is both timely and timeless. It echoes through generations from mothers who enable abusive fathers to daughters struggling to break free. Harris’s screenplay is rooted in a deep understanding of how patriarchal power can be internalized within families.

The performances in “Is God Is” are outstanding, with Vivica A. Fox delivering a nuanced portrayal of a mother driven by desperation and rage. Sterling K. Brown brings a chilling sense of menace to his role as the patriarch. However, these performances are tempered by the film’s visual flatness, described as desolate and underpopulated.

This deliberate choice speaks to Harris’s broader vision for the film: prioritizing substance over style. By stripping away ornate visuals and flashy editing, Harris creates a sense of rawness and authenticity that draws viewers in. This bold move pays off when paired with performances as strong as those on display.

The movie is also a cultural touchstone, drawing on a long tradition of Black American storytelling that emphasizes community and collective experience. As Harris notes, the film adapts her play of the same name, its theatrical spirit living on through the rhythm and repetition of the dialogue.

In many ways, “Is God Is” can be seen as a spiritual successor to Quentin Tarantino’s “Kill Bill.” Both films feature strong female protagonists driven by a desire for revenge against abusive men. However, while Tarantino’s film is often criticized for its graphic violence and hyper-stylized visuals, Harris’s movie takes a more measured approach.

The film’s central set piece features the twins exacting revenge against their father in a bloody and visceral confrontation. However, this scene is framed as a necessary act of self-defense rather than an gratuitous display of violence. This nuanced portrayal challenges viewers to confront their own complicity in systems of abuse and violence.

“Is God Is” feels like a cultural response to the #MeToo movement – or at least, it feels like a cultural response that’s been building for years. Harris’s movie is not just about individual trauma but also about the ways societal expectations can perpetuate abuse and violence. It challenges viewers to consider their own role in these systems.

As such, “Is God Is” will stay with us long after the credits roll. Its themes of trauma, abuse, and revenge are deeply resonant, and its performances are unforgettable. What’s most striking about this film is how it challenges our expectations – not just as viewers but as a society.

In an industry driven by spectacle and style, “Is God Is” stands out as a refreshing anomaly. It prioritizes substance over surface-level polish and rewards close attention and reflection. As we watch the credits roll on this film, we’re reminded of the importance of stories like these – ones that challenge our assumptions, confront our biases, and demand we do better.

The movie leaves viewers unsettled but in the best possible way, challenging us to confront our own complicity in systems of abuse and violence. As such, it feels like a crucial cultural touchstone – one that will stay with us for years to come.