Aliens, Dinosaurs and a Father’s Death: ‘Kefi’ Director Saito Kisin Brings a Surreal Take on Grief to Tokyo

Aliens, Dinosaurs and a Father’s Death: ‘Kefi’ Director Saito Kisin Brings a Surreal Take on Grief to Tokyo hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Oct 29, 2026 3:13am PT Aliens, Dinosaurs and a Father’s Death: ‘Kefi’ Director Saito Kisin Brings a Surreal Take on Grief to Tokyo By Kambole Campbell Plus Icon Kambole Campbell Latest From Carlos Reygadas to Hamaguchi’s Cinematographer, Tokyo’s Nippon Cinema Now Directors on Unexpected Connections 9 hours ago ‘One Cut of the Dead’ Director Ueda Shinichiro on Turning a Microdrama Into Tokyo Feature ‘Earthlings in Love’ 24 hours ago ‘Silver Express’ Review: Miki Tanaka’s Sensitive Debut Feature Explores Asexual and Aromantic Identity 2 weeks ago See All Add us as a Google Preferred Source Comments Likely the strangest entry at this year’s Tokyo International Film Festival , the surreal “ Kefi ,” the debut feature by cinematographer Saito Kisin, mixes multiple short stories and multiple styles to make sense of the feelings around a complicated relationship with his late father. It doesn’t get there through the signifiers one might anticipate: there are aliens, dinosaurs, dream affairs and more across the film’s compact runtime.

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“Kefi” plays in the festival’s Nippon Cinema Now section. Related Stories Amazon MGM Studios Japan ‘Doubling’ Investment to Meet Global Standards, Local Chief Buddy Marini Reveals at Tokyo Market South Boost: María Ripoll and Max Lemcke Feature in a Project Lineup Reflecting Andalusia’s Growing TV Ambitions “Initially, I wanted to do four series of short films and put it together, and that would become a feature,” Saito says.

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“And those four would all have individual themes. So the first one would be ethics.

Second would be hypocrisy. There would be discrimination, and fourth would be life and death.” The youngest of three brothers, Saito intended to loosely connect the project to his own family, with his shorts following three sisters instead.

Then, in 2024, he received news that his father had died. That news is echoed in the film’s opening.

Shortly after a scene in which their absent father speaks about them in narration, an echo from beyond the grave, three sisters – oldest Kyo, middle child Asumi and youngest Kino – learn of his death. Like Saito’s own father, the girls’ father had been separated from the family since their parents’ divorce.

“To tell you the truth, when my father passed, I didn’t feel sad,” Saito says. “Well, the reason being my parents divorced about 10 years ago, I haven’t met him for about 10 or so years.” The film’s listing in the Tokyo program is upfront about its aim to explore the complicated feelings that follow a loss, including numbness.

Saito explores that through the oddball humor that drives much of “Kefi.” “I’m an optimistic person; my father was a very funny guy. That also added to the fact that there wasn’t much grief in his loss, and I thought that I would meet again with him and talk with him again soon, but that became so sudden,” Saito says.

“I realized that not everybody goes through grief when they lose their loved ones. So that idea came to me, and I wanted to depict that perspective through the three sisters.” The three sisters spend much of the film’s runtime apart, rather than the film exploring an overlapping dynamic between them.

“Just because you’re family, you’re not always together, it’s not like you always share something, always,” Saito says. “Your siblings lead their separate lives, but at the very end, siblings or families think about the same things or have the same mindset.” One episode of the film eventually reunites them.

Those differences are embodied in

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