The Unbridled Fury of “Is God Is”: A Film That Defies Conventions and Tackles Trauma

Aleshea Harris’s feature film debut, “Is God Is”, has made waves in the industry for its unapologetic take on trauma, revenge, and the complexities of female relationships. The film, adapted from her Pulitzer Prize-nominated play, combines ancient Greek tragedy with the sensibilities of the Coen brothers’ “O Brother, Where Art Thou?” to create a bold visual language.

The story follows twin sisters Racine and Anaia, played by Kara Young and Mallori Johnson, as they embark on a deadly quest for justice against their abusive father. Along the way, they encounter a cast of eccentric characters, including Janelle Monáe and Erika Alexander, in a narrative that is both unapologetically violent and profoundly human.

Harris has described her visual language as an “audacious cinematic language all her own,” characterized by deliberate use of color, costume design, and framing. Her influences are clear, but she has also created something entirely unique.

The chemistry between Young and Johnson is undeniable, with their performances bringing a sense of authenticity to the roles. Harris’s decision to cast actors who could convey the intensity and nuance required for these characters was crucial in creating this film.

The use of wordless communication between the twins is particularly striking, with subtitles used sparingly to convey their inner lives. This subtle approach adds depth to the narrative without resorting to melodrama or easy resolutions.

The release of “Is God Is” coincides with a renewed focus on issues of trauma, abuse, and women’s empowerment sparked by #MeToo and other social justice movements. Harris’s film is not just a commentary on these issues but also a testament to the power of art to confront and process trauma in ways that traditional therapy or support groups may not be able to.

The reception to “Is God Is” has been mixed, with some critics praising its boldness while others have criticized its violence and nihilism. Harris’s goal was never to create a film that would appeal to a broad audience but rather one that would challenge and provoke viewers into confronting their own complicity in systems of abuse.

The Challenges of Adapting Trauma

Adapting trauma into art is always a complex process, and Harris faced significant challenges in bringing her play to the screen. By using a revenge narrative structure, she was able to create a level of catharsis that can be both therapeutic and unsettling – a testament to the enduring power of mythic storytelling.

However, “Is God Is” refuses to offer easy answers or solutions to the problems it raises. Instead, Harris has created a work that is uncompromising and unapologetic – a true reflection of the complexity and darkness of human experience.

The Politics of Violence

The politics of violence are complex, and Harris’s film raises important questions about the ways in which trauma and abuse can be used as catalysts for change. While some critics have praised “Is God Is” for its unflinching portrayal of violence, others have criticized it for its nihilism and lack of clear solutions.

Ultimately, Harris’s goal was to create a work that would challenge viewers into confronting their own complicity in systems of abuse. By refusing to provide easy answers or solutions, she has created a film that is both unsettling and thought-provoking – a true reflection of the complexity and darkness of human experience.