Under a canopy of stars, amid swaying palms, gleaming yachts, and the golden glow of the Riviera sun, flashbulbs erupt, diamonds shimmer, and cinematic magic unfolds as day dissolves effortlessly into night. 

This is the Cannes Film Festival—the world’s most prestigious gathering of filmmakers and storytellers. This is the place where the future of global cinema is written one premiere, one conversation, and one daring creative vision at a time. And I was there to take it all in.

For twelve extraordinary days each May, the French Riviera becomes the epicenter of the film industry as directors, producers, actors, financiers, distributors, buyers, journalists, jury members, and an endless parade of celebrities descend upon the Croisette for the Festival de Cannes. Galas, photocalls, world premieres, red-carpet couture, and high-stakes deal-making create an atmosphere unlike any other in the world.

As I touched down in Nice for this dazzling whirlwind of film screenings, provocative conversations, awards ceremonies and a bold celebration of independent cinema at its finest, I found myself doing what I often do in life’s most extraordinary moments. I paused and pinched myself, if only to confirm I wasn’t living inside one of my own vivid dreams.

This was not my first encounter with the Festival de Cannes.

In 2012, I arrived on-screen in the Marché du Film screening of the landmark documentary Versailles ’73, American Runway Revolution directed by acclaimed filmmaker and one of Variety Magazine’s 10 Docu-makers to Watch, Deborah Riley Draper. 

Versailles ’73 explores a pivotal moment in fashion history, when five American designers—Anne Klein, Stephen Burrows, Bill Blass, Oscar de la Renta, and Halston—faced off against the reigning giants of French haute couture: Yves Saint Laurent, Christian Dior, Hubert de Givenchy, Pierre Cardin, and Emanuel Ungaro. 

Although the American delegation reflected a diverse roster of models, it was the electrifying presence of Black models including Pat Cleveland, Billy Blair, Bethann Hardison, Alva Chinn, and Norma Jean Darden that transformed the show into a cultural watershed, challenging industry norms, representation, and runway performance. 

This time was different. I was no longer arriving as a cast member. I was arriving as a producer. The stakes were higher. The responsibility deeper. The mission far more personal.

Make no mistake—Cannes is not simply a glamorous destination. It is a professional proving ground. Attendance requires accreditation through the Festival de Cannes, a rigorous process that demands verifiable credentials within the film industry. The festival is designed primarily for working filmmakers, producers, distributors, journalists, and the creative teams behind the films selected for exhibition. To earn a place there is to be recognized as part of the global cinematic conversation. 

And the festival carries an unrivaled gravitas. It’s a place where possibilities seem limitless and where careers, partnerships, and cultural movements are often born. While much attention is focused on films competing for the coveted Palme d’Or, industry insiders are equally invested in discovering emerging projects and independent films—the works destined to shape the awards corridor in the months and years ahead. Without question, the stakes are high and many are turned away through the dreaded “rejection letter.” 

I vividly remember the day I received the call from Draper. The news was exhilarating: ROMARE BEARDEN: A Life in Collage, was confirmed for an official Marché du Film screening. In that moment, the film was launched onto the global stage, setting the tone for what promises to be a powerful new chapter in cultural storytelling and artistic preservation.

On May 11, 2026, we arrived carrying the brilliance in every sense of the word. No newbie to the Festival, Draper digitally delivered our film prior to our arrival and hand carried a backup DCP on the plane! We hit the Croisette— Producer Jarobi Moorhead and Executive Producers Kim Page, Robin Lyon, Jocelyn Moore, and Alva Greenberg; Consulting Producers Lynn Waymer and Yours Truly; Associate Producers Sandra Bruce Nichols and Ronnie A. Nichols. Additionally, we were alongside an incomparable team of world-class collaborators united by a shared commitment to honoring one of America’s greatest artistic visionaries.

ROMARE BEARDEN: A Life in Collage chronicles the remarkable journey of Romare Bearden—from his roots in North Carolina to his experiences in the Negro Leagues, World War II, and Paris, before ultimately finding creative transcendence in Harlem. Through collage, painting, and boundless imagination, Bearden transformed the everyday realities of Black life into revolutionary works of art that forever changed the landscape of American culture.

There were countless invitations, screenings, receptions, and beachside gatherings competing for attention across Cannes. The temptation to linger over every exquisite meal along the Croisette, explore every national pavilion, and squeeze in a screening was real. But Cannes rewards endurance as much as glamour. For this gal, it often meant sleeping fast, waking early, and preparing for the next conversation, panel, or meeting. The schedule was demanding, the days were long, and the sleep was negotiable. Thankfully, thanks to M.A.C. Cosmetics, at least looking rested was never a problem. But here’s the thing: amid the glamour of Cannes—we came to honor legacy. We came to preserve history. We came to ensure that the story of Romare Bearden, one of the most profound visual storytellers of our time, would continue inspiring generations around the world.

Finally screening day arrived and as we sat to be coiffed by celebrity hairstylist Marcia Hamilton the significance of this moment wasn’t lost on us. Showcasing at the Marché du Film at the Festival de Cannes provides Black female directors and producers with unparalleled global visibility, industry networking, and distribution access. Our collective presence subverts stereotypes, redefines global cinematic narratives, and establishes vital international partnerships and yes, it shatters the myth that auteurs only belong to a specific demographic. Needless to say, but distribution deals, and co-production financing is often what makes or breaks independent films. More about this later…

So while Ron Howard was showcasing “Avedon” and Steven Soderberg was showcasing “John Lennon,” there we were showcasing “Romare Bearden,” with a cast that includes Grant Hill, Denzel Washington, Usher, Mickalene Thomas, Titus Kaphar, Derrick Adams, and others whose own creative and scholarly contributions continue to echo Bearden’s enduring influence.

And we were hardly alone. Across the festival, a new generation of global storytellers were reshaping the cinematic landscape. Nigerian brothers Arie and Chuko Esiri brought Clarissa, a bold reimagining of Virginia Woolf’s Mrs. Dalloway, while Rwandan filmmaker Marie-Clémentine Dusabejambo made history with Ben’Imana (Children of God), the first film by a Rwandan director selected for Un Certain Regard. Congolese filmmaker Rafiki Fariala’s Congo Boy and French-Moroccan director Laïla Marrakchi’s La Más Dulce (Strawberries) further reflected a festival increasingly animated by stories that cross borders, challenge assumptions, and center voices long underrepresented in the global film conversation.

Taken together, these films signaled something larger than individual achievement. They reflected a broader shift in contemporary cinema—one in which the future of storytelling is being shaped not from a single cultural center, but through a rich exchange of perspectives spanning continents, languages, and lived experiences.

If there was a common thread running through this year’s festival, it was the enduring power of culturally specific stories to resonate far beyond their point of origin. That truth was on full display when our own film took the screen.

Bearden commanded a full house at the Palais I. When the film ended and the lights rose, the energy in the room only intensified. Conversations sparked instantly as attendees leaned forward with questions about Bearden—his life, his artistry, and the enduring imprint he left on American culture.

As Draper and Jarobi Moorhead fielded inquiries from a crowd that included some of the festival’s most influential voices, I was reminded that Cannes is about far more than visibility. It is about intentionality. The festival rewards those who arrive with purpose, clarity, and something meaningful to contribute. True access is rarely accidental; it is earned through vision, preparation, and the kind of presence that transforms an invitation into an opportunity. And in that moment, as Bearden’s story continued to spark curiosity and conversation long after the credits rolled, it became clear that the most powerful narratives do not end when the screen goes dark—they begin anew in the minds of those they move.

Which brings me to another lesson Cannes taught Yours Truly: work born from our specific experiences is not only welcome at Cannes; it is necessary.

Billed as The Colour of Cannes, the invitation-only gathering held on May 14^th unfolded against the stunning backdrop of La Plage des Palmes, where the Mediterranean shimmered just beyond a room filled with filmmakers, executives, storytellers, actors, financiers, and cultural architects. The event drew inspiration from a milestone often overlooked in Cannes history: the barrier-breaking arrival of Carmen Jones at the Festival seventy years ago on that very same day.

But this was no exercise in nostalgia.

Conceived by industry leaders Deborah Riley Draper, founder of Coffee Bluff Pictures, and global strategist Tiara Chesmer-Williams, in collaboration with the Festival’s Marché du Film, Colour of Cannes Honors signaled something far more consequential—a strategic intervention into the future of global storytelling.

Hosted by Grammy Award-winning artist Estelle, the event honored Crystine Zhang, producer of Sundance breakout Josephine, with the Vanguard Award in recognition of her bold and transformative contributions to contemporary filmmaking.

But this wasn’t just an awards ceremony – this was the teachable moment multiplied. In an industry where access remains one of the most guarded currencies, it is no small achievement for a Black woman-owned company to secure official registration and a programming partnership within the Marché du Film ecosystem. That accomplishment alone reflected the very barriers Colour of Cannes was designed to address.

What emerged was not simply another industry conversation. It was the unveiling of a new cultural platform—one intentionally designed to expand who gets seen, financed, celebrated, and ultimately distributed on the global stage.

For decades, conversations about diversity in film have largely centered on visibility. The Colour of Cannes pushed the dialogue further, toward ownership, infrastructure, capital, and long-term sustainability. Believe me, this is the distinction that matters.

“What Colour of Cannes Honors represented was bigger than this moment,” Draper explained. “It was a declaration that the future of cinema will be more expansive, more inclusive, and more globally connected than the industry has historically allowed.”

There may be no more fitting place for such a declaration than Cannes itself—the epicenter of international film commerce, where careers are launched, deals are struck, and narratives about the future of the industry are written in real time.

At the heart of this platform was a larger conversation about the evolving role of culture in storytelling. As Chesmer-Williams observed, filmmakers are both creators and consumers, moving seamlessly between the audience and the artist’s chair. The cultural palette that shapes how they experience stories is the same palette that informs the stories they create.

Culture-forward storytelling, then, is not a trend or marketing strategy. It is what happens when creators are empowered to bring their full lived experiences to the screen.

Today’s audiences are increasingly drawn to stories that feel rooted, specific, and emotionally truthful. They want narratives that reflect the complexity of real lives and real communities. The most resonant films often emerge when filmmakers are trusted to bring their whole cultural selves to the work. In doing so, they not only satisfy that hunger for authenticity but also expand our collective understanding of who gets to be seen and what qualifies as “universal.”

That philosophy shaped every aspect of the Colour of Cannes Honors.

“Colour of Cannes Honors was conceived by filmmakers of color for filmmakers of color, and that changes everything about the tone and texture of the conversations,” Draper said.

Drawing on more than a decade of navigating Cannes—from Producers Network participation and market screenings to buyer meetings, sales-agent negotiations, and red-carpet appearances—Draper helped shape every aspect of the gathering: who would be in the room, why they were there, and what conversations needed to happen.

The result was an unusually candid exchange about craft, capital, and culture. In a festival environment often dominated by performance and optics, Colour of Cannes created something increasingly rare: a space where filmmakers, executives, programmers, journalists, investors, and creators could be both strategic and vulnerable.

Helping drive that conversation was an extraordinary lineup of industry leaders whose expertise spanned every critical sector of the business: Stephanie Auchs, CEO of Autlook Filmsales; Marcie Cleary, entertainment law partner at Frankfurt Kurnit; Darrien M. Gipson, executive director of SAGindie; Valerie Mosley, founder of Upward Wealth; and Draper herself. Together, they effectively opened the industry’s playbook, offering practical insight into the mechanisms that determine whether a project reaches audiences or remains unrealized.

For Chesmer-Williams, whose leadership experience spans BlackRock, LVMH, and now Visa, that distinction was deliberate. “What made Colour of Cannes Honors different is that we were not interested in surface-level inspiration or performative diversity conversations,” she said. “We intentionally created a room where people could access the real business conversations that actually move careers, films, and companies forward.”

And those conversations were not theoretical.

As moderator of the panel discussion, I witnessed firsthand a level of candor rarely found on festival stages. Nothing was left untouched. From financing structures and legal protections to packaging strategies, pre-sales, intellectual property ownership, investor relations, and global distribution pathways, the discussion tackled the realities of transforming underrepresented stories into viable commercial enterprises. My brain was smoking it was so rich!  In all seriousness though, the audience’s appetite for such conversations reflects a larger shift within the entertainment industry itself.

Authenticity has become one of the most valuable currencies in global entertainment—not only creatively but commercially. Stories rooted in genuine cultural perspective are increasingly driving box-office performance, audience loyalty, streaming engagement, and worldwide conversation.

As Chesmer-Williams noted, the future belongs to storytellers and companies that understand both the artistic and economic value of lived experience.

The partnership with the Marché du Film was more than symbolic; it represented a meaningful convergence between institutional legacy and emerging voices. As Draper and Chesmer-Williams see it, the relationship creates an ongoing dialogue between the storied history of cinema and the creators shaping its future.

Working in partnership with the Marché reaffirmed a simple but profound truth: real change happens when institutions are willing to share their most valuable asset—access.

By situating the Colour of Cannes Honors at Plage des Palmes, the official venue of the Marché du Film, we were at the literal and symbolic center of the industry’s deal-making ecosystem. “This year’s festival underscored how rapidly the conversation around inclusive filmmaking is maturing,” Draper observed. “It is less about visibility for visibility’s sake and more about ownership, reciprocity, and long-term partnership.”

That evolution may ultimately define the significance of the Colour of Cannes. It is not asking for inclusion within existing systems; it is helping redesign those systems altogether. “When you combine institutional openness with community-led vision,” Draper said, “you can move from asking for a seat at the table to designing a table that nourishes everyone who sits at it.”

The response to the inaugural launch suggests the industry was waiting for exactly this kind of platform. Almost immediately, Draper and Chesmer-Williams began fielding interest from international partners, brands, creatives, and cultural institutions eager to bring the Colour of Cannes model to other cities and countries around the world and Marché du Film has already set the May 2027 date. 

That enthusiasm speaks to a gap that has long existed in the marketplace—and to a growing recognition that the future of global storytelling will be shaped not by gatekeeping, but by access, collaboration, and shared opportunity.

Access, however, is rarely a destination. At Cannes, it is a rhythm—a relentless cycle of screenings, meetings, receptions, and conversations where relationships are built, ideas are tested, and tomorrow’s opportunities are often born long before the credits roll.

While much of Cannes revolves around who is arriving, who is premiering, and who is making deals, a different kind of movement was taking shape inside the Marché du Film. Women in Film Los Angeles (WIF LA) joined forces with Women in Film and Television Africa (WIFT Africa) to host the Women in Cinema luncheon, celebrating filmmakers from ten African nations whose work is helping reshape the global entertainment landscape.

More than a luncheon, the gathering represented a strategic effort to bridge longstanding gaps in access, establish new pathways for collaboration, and advocate for African women’s careers both in front of and behind the camera.

Set within the industry’s most influential marketplace, the initiative brought together the largest-ever delegation of African women creatives at Cannes. Representing Nigeria, Ghana, Kenya, Senegal, Cameroon, South Africa, Zambia, Rwanda, Uganda, and Côte d’Ivoire, the collective presence sent a powerful message about ambition, collaboration, and leadership.

The significance of the moment extended beyond numbers. For decades, African stories have often traveled through narrow channels, with filmmakers navigating limited access to the global networks that determine financing, distribution, and visibility. This coordinated presence at Cannes signaled a meaningful shift—one in which African women are stepping forward with a unified voice and a clear agenda to influence the future of international storytelling.

At the center of that effort was the launch of WIFT Africa’s first official booth within the Marché du Film, creating a dedicated hub where filmmakers, producers, distributors, investors, and industry executives could connect directly with the women driving Africa’s rapidly expanding creative economy.

Like many of the most consequential initiatives at this year’s festival, the booth represented more than visibility. It represented access.

During the luncheon, I caught up with producer Samantha Biffot, whose film Ben’Imana, directed by Marie-Clémentine Dusabejambo, stands as a testament to the perseverance required of many women filmmakers.

“This has been a very long journey,” Biffot told me. “The director has been working on this feature for the past 13 years.”

When asked why bringing the project to fruition took so long, her answer was both candid and revealing.

“I think as women, sometimes we censor ourselves,” she said. “Yet I see that men, they’re not scared of asking or daring to.”

Biffot pointed to a double standard that remains familiar across industries. “Unfortunately, when you’re a woman and you know what you want, you’re called difficult, whereas a man is called charismatic.”

Her words landed with particular resonance amid the larger conversations taking place across Cannes this year. Whether discussing financing, ownership, distribution, or leadership, many of the women driving change in the industry were speaking to the same challenge: the need not simply to gain entry into existing systems, but to reshape them.

What emerged from the Women in Cinema gathering was a vision of African women not merely participating in global cinema but actively redefining it. Through collective action, strategic partnerships, and an unwavering commitment to telling their own stories, these filmmakers are helping influence how the world understands African creativity—and who gets to author that narrative.

For that matter Colour of Cannes challenged long-held assumptions about who gets to occupy the center of the industry and who gets access to the resources that shape careers, companies, and cultural narratives. Its message was clear: filmmakers of color need not diminish, dilute, or redefine themselves to belong in the global marketplace. Investing in their vision is neither charity nor a side initiative. It is sound business, cultural intelligence, and an essential part of cinema’s future.

Perhaps that was the lesson Cannes reinforced most vividly this year. Beyond the flashbulbs and fanfare, the festival’s real power lies in its ability to convene people, ideas, and opportunities capable of reshaping the industry itself. The most meaningful moments were not always unfolding beneath the brightest lights or behind the most coveted velvet ropes. They were happening in screening rooms where artists like Romare Bearden were being rediscovered by new audiences. They were happening at tables where filmmakers of color were discussing ownership rather than simply visibility. They were happening in conversations among African women determined not merely to participate in the global film industry, but to help redefine it.

Yes, Cannes remains a place of glamour, celebrity, and pageantry. It always will. But beneath the bright lights lies something far more consequential: access.

Access to capital. Access to decision-makers. Access to distribution. Access to opportunity. And perhaps most importantly, access to the power of telling our own stories on our own terms.

This year, whether through the enduring legacy of Romare Bearden, the vision behind Colour of Cannes Honors, or the emergence of African women filmmakers claiming their place in the global marketplace, one message echoed across the Riviera with unmistakable clarity: the future of cinema will belong to those bold enough to imagine it—and determined enough to build it.

–Mikki Taylor is an author, cultural storyteller, and Editor-at-Large at ESSENCE, where she documents the enduring legacies, cultural movements, and influential voices shaping the global conversation.