Aleshea Harris has transitioned her acclaimed off-Broadway production, 'Is God Is,' into a feature film, exploring the pursuit of retribution by two sisters against their abusive father.

Aleshea Harris 將其在外百老匯大獲好評的舞台劇《Is God Is》改編成電影，探索兩位姊妹對虐待她們的父親尋求報復的過程。

The narrative centers on twin protagonists, Racine and Anaia, who sustained severe burn injuries during a childhood incident involving their father, referred to as 'The Monster' or 'Man.' This shared trauma necessitated their entry into the foster care system and established a co-dependent relationship characterized by Racine's protective nature toward the more visibly scarred Anaia. The plot is initiated upon the receipt of a communication from their mother, Ruby, who, while immobilized by her own injuries, requests the termination of the father's life.

敘事圍繞在雙胞胎主角 Racine 和 Anaia 身上，她們在童年期間因涉及父親的一起事件而遭受嚴重燒傷，她們將父親稱為「怪物」或「那個男人」。這段共同的創傷使她們必須進入寄養家庭系統，並建立了一種共依附關係，其中 Racine 對於傷痕較明顯的 Anaia 具有強烈的保護欲。劇情在收到母親 Ruby 的訊息後展開，Ruby 雖然因自身傷勢而無法行動，但她要求終結父親的生命。

From a production standpoint, the film marks Harris's directorial debut, supported by Viva Maude and producer Janicza Bravo. Harris sought to maintain the 'punk roots' and tonal nuance of the original stage play, which she conceptualized as a contemporary Greek tragedy. The casting of Sterling K. Brown as the antagonist was a deliberate attempt to subvert his established public persona; Harris utilized a 'suburban dad' aesthetic to illustrate how sociopathic abusers leverage social charm to maintain institutional and community standing. This thematic element aligns with broader sociological observations regarding the tendency of certain social circles to prioritize the reputation of the perpetrator over the suffering of the victims.

從製作角度來看，本片標誌著 Harris 的導演處女作，由 Viva Maude 與製片 Janicza Bravo 支持。Harris 試圖保留原創舞台劇的「龐克根源」與色調細微差別，她將其構思為一部現代希臘悲劇。選角 Sterling K. Brown 飾演反派是一次刻意的嘗試，旨在顛覆他既有的公眾形象；Harris 利用「郊區爸爸」的審美來闡明反社會虐待者如何利用社交魅力來維持其在體制與社區中的地位。這一主題元素與更廣泛的社會學觀察一致，即某些社交圈傾向於將加害者的名聲置於被害者的痛苦之上。

Furthermore, the production emphasized psychological authenticity through intensive rehearsal processes. Actors Kara Young and Mallori Johnson engaged in immersive cohabitation and mirror exercises to cultivate a non-verbal synchronicity. The film's trajectory follows a journey through the American South, serving as a mechanism for the protagonists to analyze the divergent manifestations of their rage and the systemic mechanisms that shield abusive figures from accountability.

此外，製作過程透過密集的排演強調心理真實感。演員 Kara Young 與 Mallori Johnson 進行了沉浸式同居與鏡像練習，以培養一種非言語的同步感。電影的軌跡追隨一場穿越美國南方的旅程，作為主角分析其憤怒之不同表現，以及保護虐待者免於承擔責任的系統性機制的手段。

The film is currently available in United States cinemas, with international release dates pending.

本片目前已在美國電影院上映，國際上映日期待定。