Seeing “Is God Is” in the theatre was unforgettable. This film stands apart from anything I’ve seen, and I strongly urge you to watch it. Let’s break it down.
“Is God Is” stands out as a revenge tragedy blending Southern Gothic and dark comedy. Making her directorial debut, Alesha Harris adapts her own stage play into a film that feels theatrical, yet restrained.
The story follows twin sisters Racine played by Kara Young and Anaia played by Mallori Johnson, whose chemistry drives the film. After surviving a childhood fire started by their father that left them emotionally and physically scarred, the sisters reconnect with their dying mother. Her final wish is for them to hunt down and kill their father who abused and abandoned them.
From there, the film unfolds like a revenge Western as the sisters follow clues left by their mother, known as God, to find the man they call the Monster.
What makes “Is God Is” so great is how unapologetically Black it is. The film has a rare identity and authenticity in that everyone on screen, down to the background actors, is Black. It was refreshing to see an all-Black cast in a major film.
This film also does an amazing job of depicting African-American culture through visual details such as hair and styling. Harris presents Black women with nuance, peeling back stereotypes to explore the trauma and effects of growing up in a broken home.
At times, the film’s tonal scene shifts may divide audiences. One moment it’s comedic, driven by a sharp line or glance between the sisters, and the next there is sudden, graphic violence. Yet that whiplash is part of what makes the film original. Harris crafts dialogue that is atypical, with more of a poetry-esque vibe.
The film’s visual style further reinforces its uniqueness. Conversations between Racine and Anaia will occasionally include on-screen captions, blending realism with folklore. Some viewers may find the stylization captivating, while others may see it as distracting.
Additionally, the film’s low-budget roots occasionally show in its staging and transitions, but the rough edges also add personality. More importantly, Harris directs with confidence and a clear artistic vision.
The supporting cast adds weight to the story, particularly Sterling K. Brown as the twins’ father, the Monster, and Vivica A. Fox as their mother, Ruby the God. Still, the film ultimately belongs to Young and Johnson.
Brown, who is very versatile with his roles, delivers a bone-chilling performance of deception and menace. Harris heightens the unease by withholding a full reveal of Brown’s face until the last quarter of the film.
Stylistically, “Is God Is” explores inherited trauma, femininity, identity and revenge. The twins’ journey is not solely about vengeance, but about reclaiming their place in a world that has repeatedly denied them basic respect. Harris frames their pain through biblical imagery, transforming personal suffering into something larger.
“Is God Is” is far from a typical manhunt thriller. It is stranger, messier and more ambitious. The film demands patience and a willingness to embrace its original, unique style; viewers who are patient witness a striking meditation on rage and transformation. It may not appeal to everyone, but its boldness and originality are difficult to forget.
