Q&A with Filmmaker Mekhai Lee

Sep 21

Hailing from Charlotte, North Carolina, Mekhai Lee is a proud graduate of the Drama program at the University of North Carolina School of the Arts. He acted in professional productions, including Broadway’s The Color Purple. He is the writer/director and co-creator of the acclaimed web series For the Boys. A member of the Half-Initiative Director Program, he was HBO’s Succession 2022 Director Fellow. His short film Them That’s Not premiered at NewfestPride ‘25 and screened at multiple festivals. He is also a 2025 NAACP Cinematic Shorts Competition recipient and directed Keyon Monte’s play NHeaven.

This Q&A is part of the Bushwick Film Fest Filmmaker Q&A series

What inspired you to create this film, and how did the initial idea come to you?

I set out to tell this story at the passing of my own grandmother when faced with how isolating grief in a family setting could be, especially for those who are closer to the deceased. I found connective tissue in that isolation amongst communities, i.e identifying as queer in your heteronormative family, identifying as Hard of Hearing in your entirely Hearing family… Thus, Billie Holliday’s song, “God Bless the Child” commissioned to this film by Concord Publishing and Newfest Film Festival, became the quintessential tune to bring this film to life. “God Bless the Child” heralds that isolation, and I was keen on flipping the message of the song to be one that instead reminds its listener of trusted community. That “our own” can rest in those around us whom we love.. even if they’re the most unexpected source of solace.

What do you hope audiences will take away from watching your film?

I hope that audiences will be reminded of the necessity of trusted community. Too often I hear stories of people relying on hyper independence and pure will to achieve their goals, and I wanted to make a film that challenged the notion of that. I want audiences to be reminded that it is okay to need people and to need community; in fact more than okay, it is utterly necessary for our survival.

Tell us an anecdote about casting or working with your actors.

One of my favorite memories was learning Black ASL in between setups. I can recall the interpreters, Director of Artistic Sign Language and my lead actress conferring in a corner signing away. When I made my way over they started teaching me, after I’d already been in formal ASL classes, some informal signs in Black ASL, which is a language completely independent of ASL. It was hilarious and fun and one of my favorite memories from the shoot.

Were there any films or directors that influenced your approach to this project?

I was inspired by two films in particular for this film; The Last Black Man in San Francisco for its visual approach and consideration of time and space. I love how that film feels no need to rush its story, and I wanted a similar tone in my film, especially considering the “listening” aspect overarching the entire piece. And the second film that was a main inspiration for me was “The Sound of Metal,” particularly in its sound design and Deaf representation. Sound of Metal drops you directly into the POV of its protagonist and I wanted to have that same approach to Drea from an audience perspective.

What’s the last film you watched?

Portrait of a Lady on Fire

What’s the last book you read?

Best book I read this year is a sci-fi/fantasy narrative called The Will of the Many by James Islington, HIGHLY recommend.

Early bird or night owl?

Night Owl.