Revenge, Reimagined: Why 'Is God Is' Is More Than Just a Film
There’s something about revenge narratives that feels primal, almost universal. But when Aleshea Harris’ Is God Is hit the screens, it didn’t just tell a revenge story—it redefined it. Personally, I think what makes this film so compelling is how it weaves the deeply personal with the universally resonant. It’s not just about twin sisters hunting down their abusive father; it’s about the wounds Black women carry, the anger they’re often denied, and the mythic power of their resilience.
The Mythic and the Mundane: A Cinematic Tightrope Walk
One thing that immediately stands out is Harris’ audacious blending of tones. The film borrows from ancient Greek tragedy, Southern Gothic, and even the Coen brothers’ O Brother, Where Art Thou. But what many people don’t realize is how Harris uses these influences not as a crutch, but as a canvas. The result? A world that feels both hyper-real and surreal, like a dream you can’t quite shake. The lace curtains, the clicking nails of the libation bearers, the portrait frames that spin—these aren’t just details; they’re symbols. If you take a step back and think about it, Harris is asking us to question what’s real and what’s performative, both in the film and in our own lives.
Casting Chemistry: The Heart of the Film
Let’s talk about Kara Young and Mallori Johnson, the twins at the center of this storm. What makes this particularly fascinating is how Harris approached their casting. She didn’t just look for twins; she looked for actors who could become twins. Their chemistry is electric, but it’s also intentional. Harris didn’t leave it to chance—she curated it. In my opinion, this is where the film’s emotional core lies. Their wordless communication, subtitled for the audience, feels both intimate and universal. It’s a reminder that some bonds don’t need words, and that’s a detail I find especially interesting.
Sterling K. Brown: The Villain We Didn’t See Coming
Now, let’s talk about Sterling K. Brown’s performance as the father. What this really suggests is that the most dangerous villains aren’t always the ones who look the part. Harris obscures his face, saves his voice, and when we finally see him, he’s unassuming—almost charming. This raises a deeper question: How often do we overlook evil because it’s wrapped in charm? Brown’s performance is a masterclass in subversion, and Harris’ direction amplifies it. When he laughs as he’s being killed, it’s not just a moment—it’s a statement.
Revenge as Catharsis: Why This Story Matters
Here’s where I get personal: Is God Is isn’t just a revenge story; it’s a reckoning. Harris doesn’t shy away from the pain her characters endure, but she also doesn’t let it define them. The final sequence, where Anaia hesitates to kill her father, is a gut-punch. People yell in screenings, and I think that’s the point. Harris forces us to confront our own complicity, our own desire for redemption. What this really suggests is that revenge isn’t just about justice—it’s about healing, and sometimes, that’s messier than we’d like to admit.
The Future of Filmmaking: Harris’ Bold Debut
What many people don’t realize is that Is God Is is Harris’ first film. Her background in theater and visual art gives her a unique lens, but it’s her restraint that’s truly remarkable. In a world where filmmakers often equate chaos with depth, Harris knows when to pull back. This isn’t just a debut; it’s a declaration. From my perspective, Harris is a filmmaker who understands that the most powerful stories are the ones that leave you thinking long after the credits roll.
Final Thoughts: A Film That Demands to Be Felt
If you’re looking for a neat, tidy revenge story, Is God Is isn’t it. But if you’re willing to sit with discomfort, to grapple with questions that don’t have easy answers, then this film is for you. Personally, I think it’s a masterpiece—not because it’s perfect, but because it’s raw, unapologetic, and utterly human. It’s a reminder that cinema can be more than entertainment; it can be a mirror, a challenge, and a catharsis. And in a world that often silences Black women’s anger, Is God Is is a roar.
