Them That's Not (2025)

-Written by Kyle Bain.

At her mother’s repass, Drea (Angel Theory) is reconnected with her estranged father. Given the convoluted history that they share, tempers flare and truths are told. 

I am so impressed by Theory’s acting ability. Having known her from The Walking Dead, I was familiar with her unique brand of acting, where she relies heavily on body language and facial expressions to convey emotion and bring her characters to life. Being hearing impaired, Theory is tasked with approaching acting from an angle different from the players that surround her. With Them That’s Not asking Theory to be the primary focus of this narrative, I found it incredibly interesting watching her fill the screen and deliver a series of meaningful lines via that aforementioned brand unique to her. 

Choosing an actor like Theory to lead Them That’s Not potentially presents some challenges, but also presents some interesting opportunities as well. The short film opens to a dissonant noise that consumes the screen and the characters—particularly Drea. At the top of the film it can be challenging for viewers to understand the context of what is occurring, or why Drea is so disconnected from all that transpires around her, but that helps to develop a level of camaraderie and appreciation with and for the film’s lead. For just seconds at a time (at various points throughout the film), viewers are in Drea’s shoes, and Them That’s Not effectively bridges any gaps that may have otherwise existed through this practice. 

Feelings of consternation are strewn throughout Them That’s Not, and much like the sound design, connections are consistently built between Drea and the audience. A sense of overwhelm is present from the opening seconds, and the residual effects of that never subside, only snowballing into something bigger and even more effective as the film moves forward. Never is there a moment in which viewers are taken out of the film, and I feel that the grounded anxiety that remains everpresent is a primary reason for this truth. Viewers are able to remain present in the film, following the series of hurdles with which Drea is faced—and as tension builds throughout the short film, the narrative ingratiates itself with the audience, allowing them to feel a growing connection to all that is said and done. 

It’s clear that every piece of Them That’s Not is meant to enhance each of the others. Lighting, sound design, and acting converge to create a powerful resonance. Confining all of the components of this film to a small, claustrophobic space enhances their presence and strengthens their meaning. An inability to escape the hardships of Drea is what’s provided to viewers, and they, much like she, feel trapped—as if they were drowning. Them That’s Not projects the feelings of Drea onto viewers from its start, and it keeps viewers anchored to one location, inundated by a birage₁ of seemingly endless drama, trauma, and the like. With new emotional threats lurking around each corner, what is real, what has been manipulated, and what comes next is always a mystery. 

Them That’s Not doesn’t talk down to its viewers; it understands the intellectual capabilities of those watching and allows them the opportunity to absorb the information at their pace (a pace greatly beneficial to the film overall). Effectively complimenting the intellect of viewers creates a sense of welcome in a film that is otherwise harrowing—creating a balance that is emotionally charged and grounded. 

Through a blend of filmmaking and storytelling techniques, Them That’s Not invites viewers into Drea’s world—and Theory seals the deal with her impeccable and transcendent skills. 

Written & Directed by Mekhai Lee. 

Starring Angel Theory, Biko Eisan Martin, Carrie Compere, etc. 

8.5/10 = WORTH RENTING OR BUYING 

_{1 Birage: (noun / verb): A sensory illusion born from overwhelming momentum; a dazzling, fast-paced bombardment of imagery or sound that dissolves reality into a hypnotic hallucination.}