We follow a jazz trumpeter’s long day’s journey into night in Will Niava’s triumphant short Jazz Infernal. Koffi (Ange-Eric N’guessan), a young trumpeter, arrives in Montreal from the Ivory Coast on a freezing winter’s day, carrying little more than the memory of his father, a celebrated jazz musician. When his difficult arrival leaves him struggling to navigate the unfamiliar city, an unexpected encounter with two aspiring musicians draws him into Montreal’s jazz scene, setting him on a journey that forces him to confront his past and and embrace the possibility of a new beginning.
Featuring beautiful cinematography and a terrific central performance from N’guessan, Jazz Infernal is a moving semi-autobiographical story about grief, heritage and the weight of family legacy. Koffi’s unpredictable journey lends itself to comedic situations as his disoriented attempts to make sense of his new surroundings, as a series of obstacles and encounters turn what should be a straightforward journey into something almost farcical.
Music is, of course, central to the story, and Niava does a wonderful job of capturing the energy and spontaneity of jazz in cinematic form. More than simply an evocative backdrop, it becomes a means for Koffi to reconnect with his father, process his grief and begin to establish an identity of his own. Through its rhythms, performances and atmospheric visuals, the film develops an infectious energy that mirrors the unpredictability of Koffi’s journey.
Jazz Infernal is a heartfelt and distinctive short that combines humour, compelling performances and an evocative musical landscape. While I would have welcomed a deeper exploration of Koffi’s background and the life he left behind in the Ivory Coast, Niava delivers a moving portrait of someone learning to navigate a new world without losing touch with where he came from. Having won the Short Film Jury Award for International Fiction at Sundance earlier this year, Jazz Infernal marks Niava out as a filmmaker to watch, and suggests an exciting future ahead.
Brian Cotter
