Religion and Politics in “Kati Kati”

Mbithi Masya, a first-time director, is clearly confident behind the camera as he makes effective use of Godardian jump cuts, muffled sound mixing to exchange character perspective, and tactical production design—all together amounting to a rather stylized and opportune debut in Kati Kati (2016).

Kati Kati, with its delightfully short runtime of just over one hour and fifteen minutes, opens with a long shot of a woman clothed in a hospital gown standing alone in a field with no music and a blindingly bright white sky. This establishes the film’s general visual and acoustic style: minimal music, exaggerated whites, an economic camera that only shows what it must, and the brown wilderness backdrop just outside a small lodge in Kenya. 

Continue Reading at The Boston Hassle.

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