Slamdance 2022 Film Festival – Writer/director Christina Kallas‘ Paris is in Harlem is a stunning piece of independent filmmaking, a multi-layered narrative that’s a love letter to jazz and New York City. Somehow, the multitude of storylines and characters all connect like a jazz ensemble, each note creating a singular piece of music.

The dramatic ensemble piece is set in 2017, specifically the day when NYC’s Cabaret/”No Dancing” law was repealed after 91 years. The law targeted musicians and business owners of color. The film follows a myriad of New Yorkers, all with their own struggles and personal issue. Eventually, they converge one winter night at the historic Paris Blues bar in Harlem. The jazz musical opens with two gunshots and the story is a freewheeling array of narratives from there.

There are so many characters and storylines going on that it would be impossible to name each and every single one, but there are some real breakouts here. The musicians command attention. Their notes float throughout the runtime, enriching the city and the storylines. Of the other performances, Leon Addison Brown does an especially good job as bar owner Sam, who has a relaxed sort of cool, despite all the problems that plague his business. He’s a guy who never sweats under pressure. Vandit Bhatt stars as Ben, a professor under fire after students complained when he showed Spike Lee’s School Dayz in class as an attempt to diversity his film syllabus. Laura Pruden plays Sila, a professor at the same university. Even though she’s a “star,” according to the administration, she’s placed on suspension, though the reasons are less clear. These academic entanglements and campus issues speak to the current political climate and debates over banning books in places like TX and VA. Ben and Sila’s storylines feel especially relevant right now.

There are some heavy conversations about feminism, race, and identity politics. You feel like you’re sitting at the bar with these folks, listening to or even engaging in their open and honest conversations. At one point, with a few drinks in her, Sila leans in and blurts out to another professor, Michelle (Ellie Foumbi), that it’s easier to be a black woman in contemporary America than it is to be a white woman. You can’t believe such a staunch feminist would utter such a statement, especially to a faculty member of color, but she does. These are frank debates, but maybe they’re the ones we need to have right now.

Mostly, though, this film is a big fat love letter to the city and to jazz. This is best expressed in a scene between uber driver Arthur (Stephen Vause) and bartender Ike (Chris Veteri). Even if Ike looks totally bored and disinterested, Arthur speechifies about the beauty and freedom of jazz music, how it’s a quintessential part of the American story and solely American-made. For Arthur, it represents the very best aspects of the country and its art. It will make you want to put on a Coltrane or Duke Ellington record and lose yourself in the notes.

Paris is in Harlem is a gorgeous film that sings. It’s part musical, part drama, and part celebration of New York City. Even if you don’t like jazz, this movie will make you want to dance. Through split screens, clever audio tricks, and sound design, Kallas uplifts the diverse voices of New York City. Their stories merge into one memorable and cohesive piece of art.

8 Out of 10