Think of Kenyan filmmaker Mbithi Masya’s “Kati Kati” as a condensed version of “Lost,” in which the characters are all aware that they’re dead from the outset and it only takes one hour for the principals to face their own mortality. Maybe that’s a cheap comparison: “Kati Kati” isn’t about genre and isn’t about intrigue or puzzle box storytelling. But the film’s lithe structure and narrow scope don’t lessen its impact as narrative or its effect as allegory.

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