When it comes to revenge, there seems to be a roughly equal number of statements that celebrate the joy of a well-conceived vendetta as there are those that warn against the destructive nature of allowing a grudge to manifest into something tangible. Yet, we simply cannot stop exploring the subject, whether in fiction or reality, since it’s one of those complex subjects that is recognisable enough to everyone, but also has a flexibility that facilitates many different perspectives, leading to some remarkably original insights. There has been an entire sub-genre of films, known as revenge thrillers, built around characters that set themselves a mission to exact vengeance on someone who had wronged them in the past, usually with violent and thrilling results. It has proven to be exceptionally popular, especially when properly constructed in terms of both story and execution. One of the most original entries into this genre in recent years comes in the form of Is God Is, the directorial debut of Aleshea Harris, who adapts her own play of the same title into what we soon discover is bound to become one of the year’s strongest first features. The story follows Racine and Anaia, twin sisters who are put in contact with their mother, whom they had wholeheartedly believed had died when they were younger, a victim of a fire ignited by the girls’ abusive father, which also left them permanently scarred. Their mom (the titular “God”) has one simple request: for the girls to hunt down “The Man” and make him pay for what he did, by any means necessary. This sets off a series of violent encounters where Racine and Anaia find themselves moving through the region, feverishly searching for the person who took everything from them, intent to do the same to him. A brilliant debut by the director, who proves that she is not only a gifted writer but has enormous potential behind the camera as well, Is God Is feels like a major announcement of Harris as a remarkable talent, every moment of this film, which seamlessly blends so many genres in pursuit of something entirely bespoke, being as enthralling as the last, and where the artistic integrity on display is nothing if not entirely captivating.

Is God Is certainly refuses to be a film that conceals what it intends to say, boldly asserting its message right from the beginning. This is a fascinating exploration of several themes, almost all of which are not only relevant to the present moment, but built around a long overdue conversation. Statistics do vary, but it is widely reported that one in three females, whether children or adults, are the victims of violence, with many being committed by close family members or people that they know. The rarity of domestic violence is not something that we can ignore, and, astonishingly, Harris managed to use her platform to tell an entirely necessary story, with the rate of gender-based violence being impossible to ignore. The anger with which she approaches this subject is palpable, and she’s clearly uninterested in creating a film that skirts around the reality. Instead, she openly and directly addresses something that has far exceeded a social epidemic, aiming the patriarchy in a way that shows no hesitation to make her position known. There is a lot more flair to the film than just the message, since Harris sees the potential to make additional statements in the process, exploring subjects such as the bond between siblings (which is the primary narrative propellant for the story – the film would not have been quite as effective if it didn’t contain this particular element), the challenges of existing in a world as a victim, the unbearable nature of carrying both physical and psychological scars, and a number of other subjects that are explored with the right amount of nuance and complexity, never becoming too overwhelming that the central meaning is ever lost, but still allowing for a wide range of ideas and conversations to gradually emerge, creating a film that is certainly very bold in its themes, while being singularly unafraid to ruffle some feathers, being more than willing to skirt around the edges of potentially controversial material, assured that regardless of how difficult some of the conversations it is evoking may be, the deeper meaning behind them is far more important, which fuels so many of the brilliant creative decisions embedded in the film.

While it is Harris’ work as a writer and director that is perhaps most impressive and immediately notable, Is God Is also serves as an opportunity for audiences to become acquainted with the two leads, both of whom benefit immensely from the exceptional nature of the film. Kara Young has been around for a while, but has primarily found success on stage, becoming a true force to be reckoned with within the theatre community. Like many of her peers and forerunners in that industry, it didn’t take long for her to eventually transition to on-screen work (at least in terms of prominent roles, as she appeared in a few supporting parts in recent years, but only now has received the opportunity for a more central role), and it feels almost like a missed opportunity that it took so long for her to get a role such as this in a film, considering she’s a monumental talent who deserved to be elevated to stardom many years ago. She is a revelation – bitter, angry and fueled by the desire to see justice served, not realising that the hatred she feels, as valid as it may be, can only serve to lead her down a path of self-destruction, which is what turns Is God Is from a fascinating revenge drama to an outright tragedy, in the classical sense. Young is paired with Mallori Johnson, who is more of a newcomer, with only a couple of credits to her name before taking on the part of Anaia, the more subdued but not any less compelling of the two protagonists. Slightly more gentle and vulnerable, Johnson brings a sensitivity to the film that contrasts beautifully with Young’s more combative performance, and as is often the case with films about twins, they complement each other brilliantly, acting as two sides of a singular entity that works in tandem to create a nuanced portrait of volatile characters seeking to bring an end to the psychological suffering they have had to deal with their own lives, through making their anger palpable. They’re supported by a solid supporting cast, with Vivica A. Fox, Janelle Monáe and Mykelti Williamson having single scenes each, but being memorable with only limited screentime. However, it is Sterling K. Brown, playing the villain of the film, that truly leaves an impression – he commands the screen as the sinister antagonist, a manipulative, almost otherworldly individual who may appear human, but has a complete lack of moral fortitude. This leads to one of the most provocative climaxes of the past few years, with the two leads and Brown being responsible for something truly unforgettable.

The anger and disdain that pulsates throughout Is God Is draws the viewer in and allows us to get a glimpse into a subject that, while not new to anyone who has even the slightest knowledge of social issues, is still very important to investigate closely. Harris has no issue with developing a proudly difficult film, since the intentions far outweigh any complaints that it is confrontational or bleak. Harris is certainly a smart filmmaker, in the sense that she understands, as important as the message at the heart of the film may be, that it cannot sustain an entire production, and therefore additional elements need to be added, even if they’re purely cosmetic, designed as vessels through which this harrowing story can be told. Drawing from many different styles, ranging from exploitation, revenge thrillers, road dramas, psychological horror and even a slight touch of buddy comedy, Is God Is is constructed as a bold, genre-bending film that resists categorisation at absolutely every turn, and enjoys taking the viewer on a wild journey, each scene building onto the one before it in terms of both tension and style. Inspired by many entries into the revenge thriller genre, but also evidently not weighed down by them, choosing instead to go in her own direction, Harris is extremely committed to finding the truth beneath the surface of this film, exploring what it means to allow a grudge to turn into palpable action. It’s a very violent film, but unlike some of her artistic forerunners, who used violence as a means to shock the viewer, Harris is more interested in it as a tool, a means to communicate ideas that cannot be contained in dialogue. There’s something so cathartic about how this film explores the protagonists’ journey to avenge their mother, and while it can sometimes be quite brutal (and Harris certainly does not hold any punches – there are moments that will shock even the most desensitised of viewers, solely because of their boldness), there is a purpose to everything. The film moves at a unique rhythm, oscillating between darkly comedic and profoundly bleak (while never veering too far in either direction – Harris understands the importance of finding the right balance), and the visual palette only further emphasises the unique nature of this film, each composition contributing to the overall experience that comes with watching a film that is truly and wholeheartedly committed to quite a challenging premise.

Is God Is can be appropriately described as one of those rare cinematic miracles, a debut feature that introduces us not only to someone who can very easily go on to become an essential voice in contemporary cinema, but also serves as an opportunity for the actors – both the newcomers and veterans – to play roles unlike anything we usually see in mainstream fare. This film is the very definition of what independent cinema should strive to be: creative, furious and unforgettable, and it feels like we are witnessing the emergence of an artist whose voice may not be well-known yet, but resonates so widely and with such incredible ferocity that her words linger long after the film has ended. It’s an incredible piece of cinema, and a firm reminder that originality still very much exists within this medium if we look for it. It is entirely direct and never veers towards the overly sentimental – at no point can we expect where this film is heading, and it’s in this narrative ambiguity that the director finds the opportunity to make some stark statements on the nature of society, and how it is built on an inherently destructive culture, something she wishes to dismantle in a small but significant way throughout this film. Harris is assisted by an extraordinary cast, all of whom commit entirely to the complex premise and do whatever is needed to bring these fascinating characters to life, resulting in some compelling, visceral performances by two leads that I suspect are going to have exceptionally long careers in the industry, as well as a reliable set of supporting performers that did not have to prove anything to us, but most certainly still find the time to do some extraordinary work. This is the kind of film that flourishes when it is making the audience feel uncomfortable, since that is the moment when the most powerful ideas tend to be communicated, and the harshest truths revealed, rendered in vivid, complex detail by a director who has a lot to say, and is most certainly not going to avoid every opportunity to say it clearly and without a moment of hesitation. I do suspect that Is God Is will come to be seen as a revolutionary work of contemporary American cinema, a fascinating glimpse into both the past and present, and a film that defies expectations and proves to be an absolutely enthralling and unquestionably unhinged portrait of modern society and the people who maintain these destructive, oppressive systems.