From The Jamie Foxx Show to The Real Housewives of Beverly Hills, Garcelle Beauvais has been a captivating presence on both the big and small screens. But in more recent years, she’s expanded her impact beyond acting, stepping into the role of producer and storyteller with projects that shine a light on overlooked voices. Her Lifetime films, including Black Girl Missing, have sparked important conversations around representation, justice, and the power of community.
With accolades such as a Gracie Award and an NAACP Image Award nomination, Beauvais is proving that her work behind the camera is just as powerful as her work in front of it. In this interview, she opens up about her creative journey and how she’s continuing to tell stories that matter.
We all remember you from The Jamie Foxx Show as Fancy, but you’ve been working with Lifetime, where you’ve expanded your role as both star and executive producer. How has that dual role changed your approach to storytelling?
Well, let me tell you this. As an actor, you’re usually telling a story that someone else put together, but it’s another thing to put on the producer hat. When I say I’m doing something, I am doing it. I’m not just putting my name on it and seeing how it turns out. I am involved in everything from who’s the director, where it’s shot, the budget, the DP, and who are we hiring? It’s been a really great educational stretch for me in the industry. It’s been great to put a project together and see it not only come to life, but I think the message and the awareness that we brought to Black Girl Missing has been truly fulfilling in so many ways.
Taken at a Truck Stop deals with sensitive topics as well, like online exploitation and missing girls of color. What drew you to this project, and what responsibility do you feel in telling the story?
What drew me to the project is that we want to keep making sure that we are still talking about the disparity of when Black and Brown people go missing. We don’t get the same energy. We don’t get the same compassion. We’re usually brushed aside. What I liked about this story, in telling this story, is that it deals with family. It deals with women who are truckers. And let me tell you, there’s a community of badass women who are truckers. I have a newfound respect for people who do that, especially the women.
So, it deals with my character, Kai, and her sister, Madison. We have this complicated sisterhood, like most sisters in families. Then my character’s niece Toy, who is on the spectrum, comes along with me and is kidnapped at a truck stop. What drew me to it was all the different levels. The family complexity, the dealing with autism, and what people perceive being on the spectrum means. It’s a really full-bodied story from start to finish.
Speaking of your character, Kai, she uses social media and community networks to help find her niece. How do you feel the film reflects real-world grassroots efforts and the power of community?
I think it reflects what’s going on in the world right now. I feel like if people want to get behind something and point out injustice, there’s social media. Sometimes you can just say, “Black Twitter, take it from here,” with a handle. Nowadays, people are involved. When we see something, we can quickly gather, whether in support or to show the injustice. Social media is really ingrained in the fabric of how we live our lives and how we highlight things that are important.
Kai, using the trucking community to help, came in handy because their dad had the trucking company first, and he always talked about how it’s a community, but she never felt that. I think that putting out the message of needing help and them showing up for her reaffirmed what her dad had always said, but she never believed.
Now, for the original Black Girl Missing film, which received numerous accolades, including a Gracie Award and an NAACP Image Award nomination. Did that recognition influence your approach to producing this new film?
It’s always great to get recognition, but my biggest flex, as the kids say—my kids would roll their eyes right now, but the biggest flex would be the numbers in terms of people watching the first Black Girl Missing. It was trending that night. We got so much press—the New York Times, Forbes, people who are influential in the industry—saying, “You know what, we never really paid attention to that. Thank you for bringing it to the forefront.”
Of course, getting a nomination from the NAACP is awesome. I’m so grateful that I have this mega platform, and I think it’s important also to use that platform to highlight things that help the community, not just promoting what I’m doing. If it’s something that can also help us collectively, I’m here for it.
Now partnering with the Black and Missing Foundation, how did that collaboration shape the film’s development?
I was introduced to them when we were putting together the first Black Girl Missing, and I was really blown away by what these two women were able to do in terms of creating this platform and sharing and telling people. They started the movement, and it’s really empowering. Also, seeing that although the title of our movies is Black Girl Missing, it’s not just Black girls. It’s Black boys, Black women, Black men, and Brown people. It just opens your eyes because sometimes, if it’s not a shiny thing nowadays, we miss a lot of things. And like I said, when you’re watching the news, you don’t see us being highlighted in that way. If you ask anybody about JonBenét, Natalie Holloway, or Gabby Petito, everybody knows those women because they’re on television and magazine covers all the time.
I believe there was a big publication this past year that did a 20-page spread on JonBenét Ramsey, who passed away maybe 20 years ago. Yet we have young girls who are going missing as I speak, and we’re not hearing their names. We don’t know who they are.
Shifting to Tempted to Love. You return as Ava, navigating love and unexpected emotions. How does this sequel deepen her character compared to the first film?
I’m so excited that we’re doing a sequel to it, because with the ending, people were like, “What, they don’t end up together? What’s going on?” So, I’m glad we got the opportunity to do it. I think what we’ll see with Ava now is growth. In the last one, she was getting arthritis in her hands and questioning if her career was over. So, I think now there’s some growth with her confidence coming back. She may or may not have a love interest right now. Then we’ll find out what Luke’s been up to.
It was a fun project. Everybody was happy to be there; we would play music in between takes. It’s just nice that people got that feeling from the movie. You want to cheer for this couple who have a 20-year age difference. Yet, for some reason, you still rooted for them. I’m hoping that happens again.
And you’re shooting this in Ireland?
That’s the plan. I’ve never been to Ireland. I’m very excited about it, and I think we’re going to use the beautiful landscape of Ireland in terms of the castles and the backdrop. That should be really fun.
How do you think it will impact your experience as both an actor and a producer?
It will be interesting. Other than obviously working in Canada, I’ve never worked in a foreign country. It’s going to be great in terms of experience. There might be some challenges, but with every production there’s a bit.
With the land, cinematically, it’s going to be beautiful. We’re bringing a little bit of Haitian cuisine into the storytelling, which will be nice. And the energy will be different, because we’ll be in a new place. We’ll all be excited. So, I think that will help too.
Now, both films showcase strong female leads and complex narratives. How important is it for you to create stories that highlight women’s perspectives?
To me, it’s everything. There are so many movies where the men are the leads, the heroes, saving the world. It’s important not only for women but also for young girls to see that we’re capable too. Life is complex, but it can still be beautiful at any age.
People are afraid of aging and getting older. But I think it’s a privilege, because the alternative is you’re not here. It’s a privilege to grow older and experience new things. I’m hoping that by having stories told from a woman’s point of view, we see it’s just as important as seeing the men as well. It’s also the times; you can’t box us in. We’re trying to break the glass ceiling as much as we can.
Looking ahead, what are your goals for your continued partnership with Lifetime? And are there any new types of projects or stories you hope to explore?
I hope I continue my relationship with Lifetime. They’ve been great partners, and their audience base is really who I’m speaking to in terms of diversity and women’s issues. I’m producing on other platforms with other networks. It’s been really fun. I hope I continue to do what I love to do and leave my mark on the industry.
Lís Bryant
