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Moses Sumney Scores 'Is God Is' in Bold Film Debut — Melanin News | Melanin
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Moses Sumney Scores 'Is God Is' in Bold Film DebutCelebrity

Moses Sumney Scores 'Is God Is' in Bold Film Debut

2w ago

Moses Sumney, the Ghanaian-American singer-songwriter celebrated for his genre-defying music, has officially stepped into the world of film composition. This marks a significant career move for Sumney, who had previously expressed little interest in scoring films, making his debut for Aleshea Harris's directorial premiere, "Is God Is."

Sumney was reportedly captivated by Harris's script, describing it as "really wonderful" and praising its "original voice." This powerful impression led him to accept the offer from Amazon-MGM Studios to compose both the score and soundtrack for the feature. The film, a collaboration between Orion Pictures and Amazon-MGM Studios, is set for theatrical release on May 15, 2026.

Film score
Film score Source

The artist teamed up with seasoned composer and producer Joseph Shirley to bring Harris's vision to life. The film itself is a dark, compelling narrative centered on twin sisters, Racine and Anaia, who are tasked by their mother with a grim mission: to kill their abusive, absentee father. This premise delves deep into themes of revenge and the extreme lengths individuals might go to when confronting profound emotional wounds and familial ties.

Sumney highlighted the collaborative spirit of the project, noting it felt like "a lot of friends and mutual friends sort of coming together to do something great." This sentiment underscores the creative environment that fostered his unexpected entry into film scoring. His unique musical approach involved building much of the film's sonic landscape from his own voice, stretching its capabilities to create sounds that often defy immediate recognition as vocalizations.

He explained that many of the synths, keys, and even percussive elements in the score, including a blues track called "Man's Blues," were crafted using his voice. This technique aimed to create a unique sonic palette, mirroring the emotional and physical limits the twin sisters face within the film's narrative. Sumney specifically recalled scoring the graphic flashback scenes detailing the twins' burns, as well as the challenge of creating a distinctive sound for their telepathic communication.

Amazon MGM Studios
Amazon MGM Studios Source

The transition from solo artistry to collaborative film work presented its own set of challenges. Sumney, accustomed to being self-employed and working independently, found adapting to a team-oriented workflow demanding. He cited the need to support another person's vision and navigate multiple voices in decision-making as a significant adjustment. The fast-paced nature of film production, requiring quick ideation, revisions, and a lack of attachment to initial concepts, was also a new hurdle.

Despite these difficulties, Sumney found the experience profoundly rewarding. He expressed immense pride in the final work and the unique experience of seeing his music integrated into a film on the big screen. He also reflected on the emotional complexity of scoring the film's ending, particularly after Racine's character dies, leaving Anaia alone with her child. He aimed to capture a sense of melancholy intertwined with hope, drawing inspiration from a Valerie June song and his own soulful-folk work, culminating in the track "Don't Leave Me Be."

Sumney shared that his previous exposure to film and television projects, often drawn to his "overdramatic" musical style, gradually paved the way for this opportunity. He cited Nicholas Britell's score for "If Beale Street Could Talk" and Cristobal Tapia de Veer's work on "Babygirl" as influential, alongside Stevie Wonder's "Journey Through The Secret Life of Plants." He admired how these scores defied expectations and created intimate yet bold soundscapes.

Looking ahead, Sumney is currently focused on completing his next album, which he is nearing the end of production on. While he would not rule out future film scoring projects, he indicated that it would not be a "soon" endeavor due to the significant time and dedication required. His debut in "Is God Is" nonetheless marks a compelling expansion of his artistic range and a powerful contribution to the film's narrative. His work on the project stands as a testament to his ability to translate complex emotional landscapes into sound. This debut also highlights the film's exploration of Black women expressing their rage in a raw, unhinged, yet psychologically fitting manner, adding another layer to its cultural significance.