Every once in a while, working in the entertainment industry as a journalist overlaps with one’s own personal passions. A recent highlight: an invite to the private world premiere of Beyoncé’s movie Renaissance: A Film by Beyoncé, which takes fans behind the scenes of her record-breaking world tour.
Like anything associated with the iconic star, the anticipation (and mystery) surrounding the Los Angeles premiere added to the potency of the event.
The hush-hush invite and dress code
The save the date arrived one month and one day before the LA premiere, specifying a dress code of “cozy opulence.” Details were kept under wraps until about a week before the event when the official invite came through noting the showtime (7 p.m.) and that an address would be provided at a later date.
In the official invite, the dress code was updated to “cocktail attire.” (After getting the Save the Date, I was already wondering how many variations of very fancy pajamas outfits we might see for those who had missed the larger Renaissance fashion memo.
The security at the premiere
The ride share drop-off address arrived overnight for the day of the premiere, detailing that the “chrome carpet” would open at 5:30 p.m. and guests would be “directed to the entrance by event staff.”
Though the actual venue name, the Samuel Goldwyn Theater, still wasn’t included on the invite, guests were told their phones and smart watches would be placed in Yondr bags to get in, no exceptions. And no late arrivals were permitted either, but honestly, who would dare. Not this day one DC4, die hard DC3, always and forever BeyHive member.
The Beyoncé easter eggs
Exactly forty-four minutes before the carpet opened, as I was panickedly steaming my outfit, guests received another email. This one warned people “please do not be alarmed, remain calm: doors open for the Los Angeles premiere of Renaissance: A Film by Beyoncé in 44 minutes,” a nod to the opening of “Alien Superstar” and the queen’s long-documented love of the number 4.
Upon entrance of the actual event there was also a show-stopping art installation: a mirrored horse reminiscent of the silvery steed Beyoncé posed on top of for the Renaissance album art and rode during the actual show. Hi “Reneigh!”
When in the world of Renaissance…
At the end of the chrome carpet before heading inside to lock up my phone, I said yes to a spray of Beyoncé’s scent Cé Noir, but I guess I leaned down to smell the bottle in a way that the fragrance sprayer thought I was offering my hand (or chest?) and received a spray on my chin. I asked for another official spray on my arm, before floating into the lobby, bathed in aromas of clementine, golden honey, rose absolute and jasmine sambac.
I’m not usually a popcorn person but I ate the entire silver tin of Renaissance popcorn and thus needed every last drop of water in the accompanying branded Renaissance cup. Lights didn’t go down for the film until 7:48 p.m., so I ate popcorn for dinner and watched the theatre fill up.
Laverne Cox and Trace Lysette came in and chatted with TS Madison, Kelly Rowland exchanged cheek kisses with Lizzo before taking her seat, and Gabrielle Union and Tia Mowry ate Renaissance popcorn and drank water out of Renaissance cups a row away from me. Janelle Monáe squeezed her polka-dot outfit into a seat next to Legendary Damon who were later seen chatting with Corey Gamble and Kris Jenner sitting next to them. Lena Waithe, Michaela Jaé Rodriguez, Tan France, Victoria Monet, the Renaissance dancers, Chloe and Halle Bailey, an unrecognizable terrifically outfitted Nicole Ari Parker with husband Boris Kodjoe all made their way in, until finally Beyonce and Blue entered and lights went down.
We, the audience, bobbed our heads to the beats that had soundtracked our past year, and watched a tour up closer and with more outfit changes than any one stadium stop this summer could have provided. It was an electrifying honor laughing with the “Renaissance” star, cheering on Blue Ivy, and watching the athleticism, power and prowess on screen with the very people featured in the film.
I smiled waiting for my Uber at the end of the night, not just because I saw two other talents I had caught in concert this year, Victoria Monet and Janelle Monáe, catching up outside the venue but because I also remembered the reports that promised all the music videos would be included in the film. Maybe she really meant it when she said “you are the visuals, baby.”
