The day before I saw a screening of Is God Is, news broke of a tragic event in Shreveport, Louisiana. A man had killed eight children, seven of whom were his own. This grim event, along with another local tragedy where a former lieutenant governor killed his estranged wife before taking his own life, sparked discussions on social media, especially within the Black community. Many Black men, including journalist Roland Martin, framed these acts as mental health tragedies, often sidelining the voices of the victims—Black women and children.
While Is God Is isn’t directly inspired by these incidents, it resonates with the themes they evoke. The story, adapted from Aleshea Harris’s acclaimed play, follows two twin sisters, Racine and Anaia. Their family is shattered by the trauma inflicted by their father, known simply as Man. With a haunting portrayal by Sterling K. Brown, Man’s abusive legacy looms large over their lives, reflecting a real-world issue: violence against women and children is always relevant.
The film blends elements of revenge, mysticism, and familial drama, with echoes of Thelma & Louise and The Color Purple. Racine and Anaia navigate a harsh world, forever marked by their father’s abuse. As children, they suffered horrific injuries, thrusting them into the foster system. In adulthood, their bond remains strong, but their circumstances are daunting.
Racine, the more daring sister, seems to slip through life’s cracks while Anaia carries the visible scars more heavily. Their relationship is nuanced—filled with playful banter that masks deeper pain—and they interact in ways that often require no words.
The plot thickens when the twins learn their mother Ruby, played by Vivica A. Fox, is dying and wants them to confront their father. The sisters clash on how to fulfill their mother’s wish—Racine leans toward vengeance, while Anaia is more hesitant.
Harris tackles broader themes, showing how communities often protect abusive men. Supporting characters—a mix of figures from Ruby’s past—show the many excuses made for men like Man. This reflects societal tendencies to overlook the harm done by such individuals, paralleling the discussions triggered by recent news events.
Despite its vivid storytelling and rich visuals, the film’s third act struggles to meet the expectations set by its powerful setup. Man’s character has been shrouded in mystery and fear throughout the film. When he finally confronts his daughters, the moment feels less impactful than earlier sequences.
However, the film’s commitment to exploring the ramifications of patriarchy and abuse remains strong. Harris’s vision stands out, making Is God Is a work that feels both timeless and urgent, urging viewers to reflect long after the credits roll.
If you’re curious about themes of trauma and resilience, consider checking out related discussions on social media platforms. The ongoing conversation reflects how art and current events intertwine, pushing for awareness and change.
