‘Kefi’ Review: A Grief-Stricken Family Reunion Is Beset by Aliens, Drugs and Dinosaurs in Kisin Saito’s Kaleidoscopic, Genre-Fluid Debut

‘Kefi’ Review: A Grief-Stricken Family Reunion Is Beset by Aliens, Drugs and Dinosaurs in Kisin Saito’s Kaleidoscopic, Genre-Fluid Debut hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Nov 3, 2026 12:19am PT ‘Kefi’ Review: A Grief-Stricken Family Reunion Is Beset by Aliens, Drugs and Dinosaurs in Kisin Saito’s Kaleidoscopic, Genre-Fluid Debut Riho Takada, Mari Iriki and Konatsu Kato play estranged siblings forced to face each other’s wild personal lives in a visually and tonally chaotic feast of cinematic flair from the freshman writer-director. By James Marsh Plus Icon James Marsh Latest ‘Between Us’ Review: Estranged Teenagers Process Past Tragedy Through High School Theater in Fitfully Ambitious Japanese Drama 5 days ago ‘Between Two Lovers’ Review: Nanako Hirose’s Contentious Family Drama Examines an Ill-Fated Throuple 3 weeks ago ‘The Table: Day and Night’ Review: Café-Based Korean Romance With Kim Min-ha and Han Sun-hwa Is All Froth, No Kick 4 weeks ago See All Add us as a Google Preferred Source Comments Late on in “ Kefi ,” one of its central protagonists — the youngest of three sisters — justifies a spontaneous hook-up with a random stranger by claiming that “the flow” of their chance encounter “was really cinematic.” The same, perhaps, can be said for Kisin Saito ’s brazenly confident debut feature as a whole — a genre-fluid kaleidoscope of styles and storylines that frequently skirts the border of incoherence, only to right itself time and again thanks to the filmmaker’s assured command of cinematic aesthetics.

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Related Stories China Box Office: ‘Resident Evil’ Holds Top Spot for Fourth Straight Frame as 2014’s ‘John Wick’ Debuts in Third China Box Office: ‘Resident Evil’ Stays at No. 1 as Market Hits Fall Lull Aliens, dinosaurs, drugs, and cheeseburgers all gatecrash an otherwise grounded drama about shared grief and family reconciliation, in which a trio of siblings return to their childhood home following the death of their estranged father.

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Premiering in Tokyo’s now-competitive Nippon Cinema Now strand, what emerges is a chaotic, multi-stranded reunion story propelled by dream logic, identity-altering narcotics and an over-indulgence of junk food, that should catch the attention of adventurous genre festivals and ballsy boutique distributors alike, as “Kefi” announces the arrival of a new talent for whom visual bombast and technical bravado are in bountiful supply. While the premise of three estranged sisters coming together in the wake of their father’s passing might sound unmistakably similar to the set-up of Hirokazu Kore-eda’s “Our Little Sister,” segments of the perpetually eclectic “Kefi” hew closer in tone and appearance to the auteur’s 1998 post-mortal drama “After Life.” At other times, the film gleefully derails itself with the same anarchic effervescence as Gen Sekiguchi’s dazzling cult favorite “Survive Style 5+.” All this unfolds in a secluded corner of the country renowned for its historic temples and prehistoric fossils, as though the secrets of the past are baked into the very ground beneath the feet of our returning heroines, just begging to be unearthed and reexamined.

Assembled in four chapters, titled Human, Triangle, Punishment and Reunion, “Kefi” opens with a prologue, narrated from beyond the grave. The father of three adult daughters introduces his brood one by one, fondly introducing us to Asumi (Riho Takada), who now lives alone in the family’s ancestral home in Fukui prefecture; her older sister, the free-spirited Kyo (Mari Iriki), who we first see masturbating furiously in her hotel room; and younger sister Kino (Konatsu Kato), who keeps her father up to date with all the fami

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