Bond on Cinema with Ward W. Bond

Mekhai Lee’s short film THEM THAT’S NOT is a quietly powerful meditation on family, grief, and the fragile threads that reconnect us when we least expect it. Set against the solemn backdrop of a prison furlough and a mother’s repass, the story follows an estranged father and his distant daughter as circumstance forces them into the same space—physically close, yet emotionally worlds apart.

What unfolds is a deeply moving exploration of reconciliation. Beneath the tension of their fractured relationship lies a hidden bond waiting to be revealed, one that adds unexpected depth and tenderness to their journey back toward one another.

From a filmmaking perspective, THEM THAT’S NOT feels like a filmmaker’s dream. Lee demonstrates remarkable patience in his storytelling, allowing the narrative to breathe and the characters’ emotions to surface naturally. Rather than rushing toward resolution, the film trusts silence, gesture, and presence.

The cinematography plays a central role in shaping the film’s emotional language. Each frame is carefully composed, placing the characters within spaces that echo their internal landscapes. The thoughtful framing emphasizes the weight of their dialogue and the unspoken feelings between them, creating a visual intimacy that draws the audience in.

Equally striking is the film’s warm and evocative color palette. The hues of the home environment radiate familiarity and comfort, subtly reinforcing the themes of family, memory, and belonging. Even in moments of emotional distance, the setting reminds us of the love that once lived—and perhaps still lives—within these walls.

One of the film’s most compelling elements is its use of sign language. These moments demand the viewer’s attention in a unique way. Like leaning in to hear a whispered confession, the audience becomes more present, more attentive. Through this quiet communication, we are transported into the lives of Drea, Carol, and Samuel, experiencing their emotions in a deeply personal and immersive way.

The film possesses a rare combination of visual elegance, emotional authenticity, and storytelling restraint that lingers long after its final frame.

For me, it is a genuine joy to begin the year with a short film this extraordinary. THEM THAT’S NOT is not only a beautiful piece of cinema—it is a reminder of the quiet power film has to reveal the humanity within our most complicated relationships.