That’s one of the questions Aleshea Harris asks in her lively, ambitious, darkly funny debut Is God Is, which she adapted from her 2018 play. Racine (Kara Young) and Anaia (Mallori Johnson) are twins who cling to one another: A childhood tragedy that marked them both emotionally and physically has caused them to retreat into a universe of their own making. Anaia’s face is a network of scars, the result of devastating childhood burns. Racine has scars too, but they’re less immediately noticeable, mostly visible on one hand. Anaia is shy and retreating, because she feels she has to be: her face, she believes, is so horrifying to people that she fears being seen as monstrous. Racine, who, as Anaia notes, “still got some pretty to her,” is the firebrand, and she’s fierce about defending her sister from the world's cruelty.
Kara Young, Vivica A. Fox, and Mallori Johnson —Patti Perret/ Amazon MGM Studios
The bloodthirsty escapade that follows is played partly for laughs and partly for shock value, and for the most part, Harris shows a masterful control of the movie’s tone. Racine and Anaia’s mother, Ruby, is played by Vivica A. Fox: Arriving at her deathbed, they find an ailing diva reclining in luxury, her ravaged face trussed in a weirdly elegant beaded sling, her hair being braided by two attentive servants. (The clacking of their talon-like nails rings out like the sound of castanets.) She may be weakened, but she’s still imperious, and she reveals the backstory Racine and Anaia never knew: in an unsettling flashback, we see the terrible event that nearly killed all three of them. Even though it’s discreetly shot, and rendered in dreamlike black-and-white, it’s so disturbing that it threatens to throw the movie out of whack.
Kara Young and Mallori Johnson —Patti Perret/ Amazon MGM Studios
Is God Is is fanciful and brutal, sometimes simultaneously, taking a page or two from Tarantino’s Kill Bill. As the perpetually resentful Racine, Young has a brash, edgy freshness. You understand why she so desperately wants revenge, even though you’re not sure you want to see her get it. Johnson’s Anaia is much sweeter, and though there’s some ferocity inside her too, the movie leaves her in a compassionate, optimistic place. She embodies the hope that even if we can’t change our forebears, we still have control over our destiny. The movie’s final scene feels like the lifting of a curse: It’s a benediction you want to believe in.
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