Who is Mavis Beacon?
Seeking Mavis Beacon takes viewers on a Sherlock Holmes–esque journey as the filmmaking–duo Jazmin Jones and Olivia McKayla Ross embark on a quest to uncover the story of Renée L’Espérance. She was the face behind Mavis Beacon Teaches Typing, the iconic software that revolutionized typing instruction in the 1980s. As an individual though, L'Espérance's identity was completely scrubbed from the internet. But what begins as a search for one woman becomes a layered commentary on the intersection of technology, representation, and the enduring invisibility of Black contributions.
According to the documentary, Renée L’Espérance’s story begins at a beauty counter, where she was approached and asked to model for the software. With little knowledge of the program’s purpose or potential impact, her image was used to front what would become a revolutionary typing tool. Meanwhile, L’Espérance herself vanished from public view, with her existence overshadowed by the iconography of Mavis Beacon. This disappearance compelled Jones to ask: What happened to the woman behind the face?
The mystery of Renée L’Espérance’s life mirrors a deeper societal trend: Black people's bodies and identities often serve as cornerstones for technological and cultural progress, while their humanity is erased. Like Henrietta Lacks—whose cells propelled medical breakthroughs without her consent—L’Espérance exists in the public consciousness solely through her association with Mavis Beacon. This phenomenon speaks to a larger narrative: Black people are perpetually in service of others, but what about their lives, their joy, their autonomy?
Jones addresses part of the reclamation of identity through setting Seeking Mavis Beacon as a refusal to adhere to traditional documentary norms, such as talking heads in sterile rooms, a practice which was established by white, male directors.
Jones’ personal style is infused in every frame of Seeking Mavis Beacon, creating a documentary that feels as vibrant and layered as its subjects. While the pandemic limited their ability to control external spaces, Jones and Ross crafted a vibrant workspace to conduct their investigation. This eclectic studio space, a reflection of their “inner worlds,” as Jones said in a talkback after the screening, was prominently featured in the documentary.
This world consists of purple fluorescent lights that cast a gentle glow, bathing the room in a dreamlike ambiance. Their soft beams refract through the many fish tanks, creating rainbow fractals that dance across the walls and ceiling and add layers of texture and light. Wisps of incense curl lazily through the air, with their delicate tendrils weaving together the scent of warmth and serenity. Together, these elements transform the setting into a sanctuary—part studio, part home—where creativity feels as natural as breathing. It’s a place of comfort and inspiration, a tangible reflection of the vibrant inner worlds of its creators.
Furthermore, their work and creative identity are not separate, as it is in the studio that they lovingly created they discover new leads. As they string their hair with pearls and vibrant colors, they mull over potential theories. They approach the investigation with the same level and care they give each other, respecting boundaries while persistently piecing together the fragmented story of L’Espérance.
Jones further creates her own distinct documentary style by situating much of the narrative within a computer screen through FaceTime calls, Google searches, and YouTube videos. While this choice was initially born out of necessity due to pandemic restrictions, it also highlights how digital spaces have both amplified and distorted the impact of Black contributions. L’Espérance’s image, crafted to exist solely within software, becomes a metaphor for the ways Black identities are shaped—and often constrained—by technology.
Jones' vision of expressing the multi–layered effects of Black identity through film extends to the editing, which frequently uses internet memes to emphasize emotional beats, rather than established techniques. By doing so, the film subtly critiques how Black cultural expressions are often appropriated for entertainment while also reclaiming this medium to tell a nuanced story.
Moreover, in many documentaries that explore the lives of others, boundaries are often crossed in the pursuit of entertainment. The drive to unveil a hidden truth can come at the expense of the dignity or autonomy of the subjects involved, especially within marginalized communities. This pattern is starkly visible in investigative documentaries that have historically sensationalized Native American groups, reducing them to objects of curiosity.
Jones, however, consciously breaks this cycle by understanding when respect should take precedence over spectacle. When she eventually finds L’Espérance and hears of her wishes to continue living off–line, Jones swiftly explains this to the viewer, and the documentary ends. By respecting the wishes of L'Espérance and the many other individuals involved in Seeking Mavis Beacon over the demands of entertainment, Jones crafts a film that challenges the exploitative tendencies of the genre, creating a model of storytelling that centers ethics alongside artistry.
After the screening of the film, Jones spoke at a panel hosted by NEON in collaboration with Makuu: The Black Cultural Center, Du Bois College House, the Cinema and Media Studies Department, Penn Monolith, and the Penn Film Society to further elaborate on her filmmaking process. Her process, which Jones likens to theater, emphasized a blend of careful planning and spontaneity that comes with being a first–time filmmaker. Jones laughs as she describes thinking of her and Ross in a film noir film. Within different stages of the filming process, Jones envisioned herself and Ross as different characters in different genres: first film noir, then road, buddy, and so on.
Over three years of shooting, they embraced the imperfections of a D.I.Y. production to produce a work that feels raw, honest, and deeply personal. “It’s not perfect,” Jones says, “But it is a reflection of where we were at.”
The film's climactic reflection is both poignant and thought–provoking: L’Espérance no longer wishes to be contacted. Her decision underscores the tension between public legacy and personal autonomy. Mavis Beacon isn’t Renée L’Espérance. Why should she live her life through the frame of a software she didn’t create? L’Espérance’s rejection of this imposed identity becomes a powerful act of self–preservation, challenging the audience to reconsider how we view individuals whose contributions we take for granted.
Ultimately, Seeking Mavis Beacon is more than a documentary; it is a reclamation. It challenges viewers to look beyond the surface of the icons and tools they rely on daily and to confront the erasure that often accompanies innovation. Jazmin Jones and Olivia McKayla Ross not only unravel the mystery of Renée L’Espérance but also hold a mirror up to society, forcing us to reckon with how we value—or fail to value—the people behind the screens.
