Grant Hill Joins Romare Bearden Documentary Ahead of Cannes
grant hill has joined Romare Bearden: A Life in Collage as an executive producer, giving the documentary a new high-profile backer ahead of its Cannes run. Kimberly Evans Paige boarded the film in the same role, and a cut will screen at Cannes’ Marché du Film on Friday.
Hill and Paige on board
Hill called supporting the project “a natural extension” of his mission, saying, “Romare Bearden’s story is foundational to understanding the Black creative tradition.” He added, “For years, I’ve had the privilege of sharing our collection of Black masters with audiences across the country.”
Paige said, “Bearden’s work captures the complexity, beauty, and resilience of Black life in ways that are both intimate and expansive.” She added that the film “invites new audiences—especially young people and emerging artists—to see themselves reflected in his vision.”
Draper’s Cannes push
Deborah Riley Draper directs the documentary, which is produced by Emmy winner Jarobi Moorhead. Draper was named one of Variety’s 10 Documakers to Watch in 2016, and she has framed the film around Bearden’s path from North Carolina to the Negro Leagues, World War II, Paris, and Harlem.
That lineup is built to travel beyond a single screening. The film also features interviews with Denzel Washington and Usher, plus appearances from Mickalene Thomas, Titus Kaphar, Derrick Adams, Dr. Mary Schmidt Campbell, Dr. Elizabeth Alexander and Dr. Lowery Stokes Sims.
Bearden’s audience reach
The project is being positioned as a cinematic portrait of one of America’s most influential visual artists, with archival footage, collage-inspired visuals and commentary tied to the Great Migration, the Harlem Renaissance, jazz, literature and global modernism. Hill said he has spent more than 25 years sharing his collection of Black masters with audiences across the country, and Paige said the film is meant to bring Bearden’s vision to galleries, classrooms and younger viewers.
Friday’s Cannes screening gives the documentary a launch point with industry buyers and programmers, but the bigger business case is broader: a film with museum, classroom and commercial appeal can keep moving after the festival circuit. For Hill, that makes this less like a celebrity cameo and more like a distribution-minded bet on how Black art gets seen.
