{"id":183,"date":"2026-05-18T22:38:17","date_gmt":"2026-05-18T22:38:17","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=183"},"modified":"2026-05-18T22:38:17","modified_gmt":"2026-05-18T22:38:17","slug":"the-is-god-is-ending-had-people-yelling-in-screenings-just-as-director-aleshea-harris-would-like-it","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=183","title":{"rendered":"The \u2018Is God Is\u2019 Ending Had People \u201cYelling\u201d in Screenings \u2014 Just as Director Aleshea Harris Would Like It"},"content":{"rendered":"
\n<\/p>\n
\n

\n[The following story contains spoilers from Is God Is<\/em>.]<\/strong><\/p>\n

\n\tA great playwright does not always make a great filmmaker, but Aleshea Harris proves the path is there. Making her feature screenwriting and directing debut with Is God Is<\/em>, an adaptation of her play which was a Pulitzer Prize finalist, Harris is behind one of the year\u2019s wildest and most acclaimed films, sitting at a 97 percent freshness rating on Rotten Tomatoes.\u00a0<\/p>\n

Read more Judith Light Hopes \u2018The Terror: Devil In Silver\u2019 Can Use Horror to Tell an Important Story<\/a><\/p>\n

\n\tWith inspirations ranging from ancient Greek tragedy to the Coen brothers\u2019 O Brother, Where Art Thou<\/em>, Is God Is <\/em>brings a classic revenge-narrative structure to the always bloody, brutally funny, violently sad story of twin sisters Racine (Kara Young) and Anaia (Mallori Johnson), who go on the hunt for their father (Sterling K. Brown) at their mother\u2019s request after learning that his physical abuse is the reason for their disfiguring scars from childhood. Along the way, they encounter a range of his acquaintances, played by the likes of Mykelti Williamson, Janelle Mon\u00e1e and Erika Alexander.<\/p>\n

\n\tHarris introduces an audacious cinematic language all her own, one that might take a little longer for audiences to catch onto \u2014 in a wide release of about 1,500 theaters, it brought in just $2.2 million over opening weekend \u2014 but has landed with those who\u2019ve given it a chance, earning strong audience scores across the board. In a spoilery conversation, Harris detailed her process of transferring the film from stage to screen, her biggest learning curves behind the camera, and what it meant to tell a revenge story about Black women.<\/p>\n

\nDid you have particular interest in filmmaking coming into this?<\/strong>\n<\/p>\n

\n\tComing into making the film, certainly, I was excited. I was jazzed. But I have not had an aspiration to be a filmmaker the way that other people have. I didn\u2019t go to film school. I was a theater person. It existed for me like, if that opportunity came, sure, I would take it, I would try, but I think I expected it would be further out in my journey.<\/p>\n

\nSo what about the possibilities of it, as they related to this particular play, excited you?\u00a0<\/strong><\/p>\n

\n\tWhen I write, I think in pictures \u2014 I also studied visual art before I studied theater. I kind of had a brain that was ready [for] that. I was really challenged about the tone of it, some of which we experienced in the visuals, obviously, but also in the performances. How do we hit this mythic register? That was all about curation: How do we curate the spaces that we\u2019re in? How do we curate the colors and the costumes, and when is there simultaneity and the performances? It was really just a journey of thinking super specifically and communicating. Also there wasn\u2019t a lot of time, so I\u2019m being very quick, well-prepared and ready to go.<\/p>\n

\nHow did you find attracting the financing you needed, the resources you needed to make the movie at the intended scale?<\/strong><\/p>\n

\n\tThere were a few studios that were interested, a little bit of a bidding war, and we decided to go with Amazon\u2013MGM\u2013Orion. There was a long conversation about where to shoot it, how to shoot it, how to trim the budget. I made edits to the script. To that end, we all had to sort of tighten our purse strings and figure out how to make the thing go.<\/p>\n

\nWhat was the toughest thing to compromise on?<\/strong><\/p>\n

\n\tTrimming the boy twin stories, and especially since Justen [Ross] and Xavier [Mills] are so good. In the play, there\u2019s a lot more of those boys, so it would\u2019ve been cool to get to see what life has been like for them in that household.<\/p>\n

\nKara Young and Mallori Johnson are so in sync here, as they needed to be, playing twins with such an intimate understanding of each other. Was the casting process unique there?<\/strong><\/p>\n

\n\tQuite a journey. I knew that I wanted two people. We did look at actual sets of twins, but it was really important to me that it\u2019d just be the best actors to portray those roles \u2014 who we could buy as two twins. So I cast a lot. I looked at a lot of women. I would have Mallori and Kara in scenes with other actors, and they would eat that person up. I needed them to be in scenes with each other. When I put them together and they matched, I knew, plus they had tremendous chemistry their first time in a Zoom room together. They just showed such tenderness.\u00a0<\/p>\n

\nHow did you figure out the visual language between the two of them? They communicate wordlessly sometimes, which you subtitle, but even the framing and choreography is very exacting.\u00a0<\/strong><\/p>\n

\n\tIn the play, there\u2019s a lot of performance in the typography, and I wanted a way to bring that into the movie, but it needed to be organic. The idea that these twins have a language between them is very true to life. For twins, there\u2019ve been stories of twins who create their own language that felt totally natural and a simple and easy way and a fun way to bring that performative typography into the movie. I wanted to, in the framing, really twin them as much as possible \u2014 not to be obnoxious, but why not use that visual language to remind the audience who they are? It isn\u2019t a one-to-one, but I did think a lot about, O Brother, Where Art Thou?<\/em>, because it\u2019s also a road movie inspired by ancient Greek tragedy, based on an ancient Greek poem. The Coen brothers crafted such a specific world that was not realistic \u2014 it\u2019s play. So looking at their use of music, their use of the color grade, their use of the style of the movement and the manners of speech and the framing \u2014 then I wanted to think about that specifically with this world.\u00a0<\/p>\n

\n\tWhen they walk in to meet their mother and we see her for the first time, we\u2019ve got this curtain behind her that\u2019s lace. Obviously we\u2019re in the realm of the Southern Gothic. We\u2019re in a world that\u2019s three clicks to the left of reality. We do have women, for example, who are in attendance, which is true to a person who\u2019s bedbound. But they\u2019ve got these nails that we hear click clack<\/em>, and they braided their hair as a nod to the libation bearers from ancient Greek tragedy. There\u2019s three of them, they sort of move in unison. I was thinking about playful ways to think about what\u2019s real and what\u2019s not. There\u2019s a lot of portrait framing with the characters, and we see the portrait spin.\u00a0<\/p>\n

\nI\u2019m curious how you think about revenge in the context of a story like this. There\u2019s a long lineage of revenge plots in fiction and drama and film, of course. With <\/strong>Is God Is<\/em><\/strong>, it\u2019s serving a pretty painful tale through that kind of classically entertaining prism.\u00a0<\/strong><\/p>\n

Read more Disney Accused of \u201cStaging\u201d Viral Pedro Pascal \u2018Mandalorian\u2019 Fan Surprise With Influencers<\/a><\/p>\n

\n\tThe wrong is so deep and the wound is so deep for these women \u2014 and I also think the wound is so deep for Black women that there\u2019s a way that I\u2019m sort of playing with what\u2019s real and true. There\u2019s something that\u2019s happening inside of the frame, but also outside of the frame that will really resonate deeply with people. I know that I haven\u2019t seen a lot of Black women featured in revenge narratives, and I love revenge narratives. It felt quite natural to put myself inside of that kind of narrative construct. I\u2019m just really capitalizing on my sense that there are a lot of things that I think we have to be angry about as Black women. It\u2019s going to do work both in the story and outside of the story, especially for some of us who understand that from the inside.<\/p>\n

\nDo you have favorite revenge narratives?<\/strong><\/p>\n

\n\tI love Kill Bill<\/em>. One I saw after I started working on the movie was Our<\/em> Father, the Devil<\/em>, which is also about a Black woman. There\u2019s Five Fingers for Marseilles<\/em>, which is a South African Western. Maybe that one\u2019s a stretch, but. (Laughs<\/em>.)<\/p>\n

\nSterling K. Brown is such a fascinating, menacing villain here. I know you\u2019ve talked about working off of his charming persona in the casting here. Can you talk specifically about how you approached the character, knowing he was playing him?\u00a0<\/strong><\/p>\n

\n\tI knew going in that I wanted us to obscure his face, give him an epic size by not showing every bit of him at the beginning, letting us hear a lot about him and saving his voice until I\u2019m ready. The script indicates that when we see him, he\u2019s like Obama \u2014 unassuming, we finally see him, there\u2019s a subversion that\u2019s very intentional. I knew how Sterling exists in the consciousness; people think they have this idea of him, and we get to play with that, which to me is more delicious. It\u2019s true to life that sometimes people who do these awful things can get away with them because they\u2019re charming and handsome. Sterling understood the assignment. He\u2019s so smart, and he\u2019s such a close reader. He knows who he is. He knows that it\u2019s really going to get people to see him play this role, and he\u2019s a phenomenal actor. So he just leaned all the way in and did the damn thing.\u00a0<\/p>\n

\n\tI do remember going to his trailer and telling him I wanted him to laugh when he\u2019s being killed, because I\u2019m often thinking about opposites: How can we freak the moment so it\u2019s not exactly what we expect? He of course played that beautifully.\u00a0<\/p>\n

\nHow did you block out the final sequence? As you mentioned, there\u2019s that turn where we see the father for who he is, when Sterling slaps his daughter, but you mine incredible tension before that too.\u00a0<\/strong><\/p>\n

\n\tThat was a conversation between the images and the sound and thinking a lot about duration. From the moment dad steps out of the car to the very end, it\u2019s very tense and we\u2019re just turning up the dial. I was thinking a lot about the timing and the performance. It was really important to me that when he takes Anaia\u2019s hand, that moment when says, \u201cPut the rock down, you\u2019re not a killer, dah, dah, dah, dah,\u201d I\u2019m holding my hands up. This is them in the frame. In the theater, people get really mad at her. The screenings I\u2019ve sat in, people start yelling. I hope that means I\u2019ve done my job to let the viewer understand why she wants to believe it, why she needs to believe that this man would save her. It\u2019s a conversation between how long things happen. Duration is very important. We don\u2019t want to tip our hand.<\/p>\n

\nWas there a learning curve to directing the action sequences?<\/strong><\/p>\n

\n\tThere was a learning curve to everything. (Laughs<\/em>) But without question. The cinematographer and I and the fight choreographer are having a conversation about how best to shoot it to capture it. There are things I didn\u2019t know about. We want to make sure that it feels viable. We have two young women taking down a man. What have we told the viewer before we get here about how violence exists in this world, about how magic this world is? What\u2019s possible?\u00a0<\/p>\n

\nTo the point about the larger learning curve, did you surprise yourself as a filmmaker here?\u00a0<\/strong><\/p>\n

\n\tI\u2019m still trying to figure out who I am. I think I surprise myself with how tough I am \u2014 how when it\u2019s nose to the grindstone, I will show up for my work and for my collaborators. I\u2019m hearing from people about the style and that they\u2019re surprised it\u2019s my first film. I don\u2019t have the level of context and frame of reference that you have, so I am learning that, \u201cOh, okay, this is good and it\u2019s good for someone who\u2019s doing it for the first time.\u201d Everything is a baptism by fire, David. Everything is learning for me.<\/p>\n

\nI see a lot of debuts with a lot of style. What really struck me about this was the restraint \u2014 maybe a weird word, for as wild as this movie can be. But it felt very in control to me as a viewer.<\/strong><\/p>\n

\n\tThat\u2019s a word that I use a lot. It\u2019s critical. It just becomes a mess and a wash of chaos. I\u2019ve learned that from the theater: I\u2019m always taking these big swings and I\u2019ve had my hands smacked for the scope of my ambitions, but I\u2019m always like, \u201cIt can hold.\u201d You just have to know how to do it and which button you\u2019re pressing, what sort of thing you\u2019re foregrounding and what you\u2019re backgrounding.\u00a0<\/p>\n

\nHow did you experience location scouting? You get to actually show this world that you created on stage.\u00a0<\/strong><\/p>\n

\n\tThat was quite the adventure because as you know, this was written to take place in the Northeast, the South and the West \u2014 the desert. That is not what Louisiana is necessarily giving. But lucky for us, we had really great location scouts and we were expansive in our thinking about what kind of odyssey this could be and ways to use color and those locations to get a sense of it being barren. Where one showdown takes place, finding that road out in the middle of nowhere, or what looks like it\u2019s in the middle of nowhere, was really important. I like the process of dreaming into a space. In fact, sometimes I\u2019ll just have a space and I\u2019ll want to write something for that specific space.<\/p>\n

Read more Tubi Nabs \u2018Scooby-Doo\u2019 Anime Series From Warner Bros. Animation<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Director Aleshea Harris gets into a spoilery chat on the film that has critics raving.<\/p>\n","protected":false},"author":1,"featured_media":182,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[187,188,189,190,191,192,193,194],"class_list":["post-183","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-amazon","tag-is-god-is","tag-janelle-monae","tag-kara-young","tag-mgm","tag-mykelti-williamson","tag-orion","tag-sterling-k-brown"],"yoast_head":"\nThe \u2018Is God Is\u2019 Ending Had People \u201cYelling\u201d in Screenings \u2014 Just as Director Aleshea Harris Would Like It - US Property Moves<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uspropertymoves.com\/?p=183\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The \u2018Is God Is\u2019 Ending Had People \u201cYelling\u201d in Screenings \u2014 Just as Director Aleshea Harris Would Like It - US Property Moves\" \/>\n<meta property=\"og:description\" content=\"Director Aleshea Harris gets into a spoilery chat on the film that has critics raving.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/uspropertymoves.com\/?p=183\" \/>\n<meta property=\"og:site_name\" content=\"US Property Moves\" \/>\n<meta property=\"article:published_time\" content=\"2026-05-18T22:38:17+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/uspropertymoves.com\/wp-content\/uploads\/2026\/05\/2640226f6a12b166d7bdc557af19df1c.webp\" \/>\n\t<meta property=\"og:image:width\" content=\"1296\" \/>\n\t<meta property=\"og:image:height\" content=\"730\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/webp\" \/>\n<meta name=\"author\" content=\"admin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"admin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"12 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/uspropertymoves.com\\\/?p=183#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/uspropertymoves.com\\\/?p=183\"},\"author\":{\"name\":\"admin\",\"@id\":\"https:\\\/\\\/uspropertymoves.com\\\/#\\\/schema\\\/person\\\/f6dcb1ef8e64fe67b72b772b81aa822c\"},\"headline\":\"The \u2018Is God Is\u2019 Ending Had People \u201cYelling\u201d in Screenings \u2014 Just as Director Aleshea Harris Would Like It\",\"datePublished\":\"2026-05-18T22:38:17+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/uspropertymoves.com\\\/?p=183\"},\"wordCount\":2407,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/uspropertymoves.com\\\/?p=183#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/uspropertymoves.com\\\/wp-content\\\/uploads\\\/2026\\\/05\\\/2640226f6a12b166d7bdc557af19df1c.webp\",\"keywords\":[\"amazon\",\"Is God Is\",\"Janelle Mon\u00e1e\",\"Kara Young\",\"MGM\",\"mykelti williamson\",\"Orion\",\"Sterling K. 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