"Kara Young and Mallori Johnson star as Racine and Anaia, young adult twins who still bear the physical and emotional scars of a house fire that nearly consumed them as girls. The blaze sent them into the foster care system and condemned them to a lifetime of stares, derision and pity leaving them isolated, self-reliant and deeply embittered. Their isolation is broken when a letter arrives from their mother, Ruby (Vivica A Fox), whom they had presumed dead in the fire but who is now nearing death from the far graver injuries she suffered in the inferno."
"Reunited at her bedside, Ruby reveals that the fire was an act of domestic violence committed by their father (Sterling K Brown) and asks her daughters to avenge her. Make your daddy dead, Ruby instructs them. Anaia, the shy, ugly younger twin, recoils from the request; Racine, the fearless and more conventionally beautiful sister, embraces it eagerly, setting them on a Kill Bill-style quest for closure."
"For those who have had their fill of sins-of-the-father allegories, relax: Is God Is deftly draws from the Black church's warnings about generational curses without tipping into outright sermonizing. Aleshea Harris, making her feature writing and directing debut after staging Is God Is off-Broadway, forces her protagonists to confront a grim paradox: whether a cycle of inherited violence can only be broken through an act of violence itself."
"We come from a man who tried to kill our mama and a mama who wants us to kill that man, Racine says, hoping to sell Anaia on the mission. It's in the blood. But where Beatrix Kiddo was an immensely capable weapon, Racine and Anaia are neither trained mercenaries nor especially strong of stomach. They pass the time on their road trip debating the most efficient way to carry out what still amounts to an inconceivable task Anaia suggesting poison, Racine"
Racine and Anaia, young adult twins scarred by a house fire, endure foster care isolation and emotional embitterment after believing their mother died. A letter brings them back to Ruby, their mother, who is now dying from injuries sustained in the same inferno. Ruby reveals the fire was domestic violence by their father and demands that her daughters kill him. Racine embraces the mission while Anaia recoils, and both set out on a road trip seeking closure. The story draws on Black church warnings about generational curses without sermonizing, while presenting a grim paradox: whether inherited violence can be ended only by committing violence. Their lack of training and reluctance complicate the plan as they debate methods.
Read at www.theguardian.com
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