‘Jazzy’ Review – A Powerful Story Of True Friendship [Tribeca 2024]

Friendship is a strange and powerful bond. This is true at any age, of course. But it is an odder, more intense, and more private feeling that we all experience as young people. Think back to your first real friendships, your BFFs. It is so different compared with high school or adult friendships. This is not to denigrate our later, more mature relationships, but these youthful connections are simply housed in a different place in our brains and hearts. And this brings us to Jazzy, director Morrisa Maltz’s follow-up to The Unknown Country, a moving continuation that stands on its own for new viewers.

The film tells the story of Jasmine (Jasmine Bearkiller Shangreaux), who is best friends with Syriah (Syriah Fool Head Means). Their friendship journey is told in fits and starts, with little explanation of how time passes. There are moments that show us Jazzy and Syriah as much younger girls, and it does not seem consumed with the idea of a fixed narrative. The film trusts us to remain patient and catch up later. The feelings expressed, and the ones kept silent, are what really matters here. In order to accomplish this, Maltz and cinematographer Andrew Hajek work effortlessly in tandem to guide the audience visually. 

The shot choices made are indicative of our protagonists’ connection, or lack thereof, to other people, and each other, in the film. It is no coincidence that through the vast majority of the runtime, adult faces are not shown, only their voices are heard. If we think back to what it was like as a child, we could not have been less interested in what adults had to offer us. If anything, they got in the way of the fun we could be having. But, of course, there are those people who bridge the gap between childhood and adulthood, adults that we lean in towards. This is why, later in the film, in a true movie star moment, Lily Gladstone appears as one of Jazzy’s family members and is absolutely riveting in their limited screen time. 

Additionally, due to that lack of adult presence visually, the film makes an always risky choice: nearly all of the dialogue and important moments are performed by child actors. And yes, there are some weak moments sprinkled throughout. However, these young actors, and the decision to cast most of them with their real names, provide a genuine quality that is hard to ignore. Even in those dicey acting moments, we are forced to remember the stylistic choices of actual children. There will be no perfection, there will be rough edges. And all of that is shown here, the good and the bad. 

But truly, the crux of this film is what happens with separation. Syriah has to move away, a victim of their parent’s whims, as we all are as children. Fool Head Means’ portrayal of disconnection, fear, and emotional detachment occurs in such a profound and slow way, that it can be difficult to track. This time spent, and their skill as an actor, provides a cathartic moment between her and Jazzy near the end of the film that I will likely look back on as one of the best scenes of this year. 

Even if Jazzy may challenge some viewers due to the languid pace, especially in the first half, I hope that it is not forgotten. There is true talent on display throughout. Maltz clearly has a firm grasp of style and is unwilling to bend to preconceived notions of what a narrative film should be. It is worth noting that she has also had a foot in documentary filmmaking with Ingrid, and it shows here. The way shots are composed, it does have a sense of reality that is missing in many films. Also, despite the difficult child acting moments mentioned, this is not true of Jasmine Shangreaux and Syriah Fool Head Means. These are near-perfect examples of child acting. They imbue their roles with not just the ability to engage, but also to provoke emotion without making the audience aware that their strings are being pulled. If you stick with Jazzy, you will be richly rewarded.

Jazzy held its World Premiere as a part of the U.S. Narrative Competition section of the 2024 Tribeca Festival.

Director: Morrisa Maltz

Screenwriters: Morrisa Maltz, Lainey Bearkiller Shangreaux, Vanara Taing, Andrew Hajek

Rated: NR

Runtime: 86m