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I cling onto details, images, to find my way through the immensity of the crowd. Taking pictures and making movies allow me to free myself from linear time; to show the singular temporality of every place, person or character.
I make a movie just like I make a collage. I work with different directors of photography and sounds recorder on the same project, each of them bringing their own sensitivity and a personal way of producing images. I gather energies, personalities, words, and tell a story.
I’ve decided to use 16mm, super 8 or 35mm films because this support matches my desire to set these images in an undefined time, as it is impossible to date silver halide images. Film is like a dream in which you never know where you are, or where you’re going to.



« In her photographs, collages and films, Anaïs Ibert’s search through reality reveals parallel universes filled with poetry, oddity, rhythm, music and that indescribable feeling of the Tragic. In her work, cuts and layers are slivers of soul drawing on our own human wounds, on the beauty of an evanescent world, the strength of one Breath. Hands are stretched. Beings seem to beseech abyssal tormented heavens. And behind rich sandy textures, in flat tints and rectangular shapes, there lurks a time for Dream and Meditation. Mystery and a whole of sensations emerge from the pictures and sounds of “Siboney – film-collage 1”, her film-collage. The words coming in waves, the pulsating breath of sounds and music, inverted faces, out-of-sync voices, and ambiguous side tracking shots justify the sentence “I’m just making up where I don’t know”. And the wandering becomes Passage, Journey and Creation. Anaïs Ibert can only abduct our eyes with delight to question the floating dust of our uncertain past and future. »

Martine Baransky, teacher and art historian

About « Film-collage 2 – introduction » (2018)

« Graciously moving, sleepy characters. Unexpected details. Surreal soundscapes. Lack of narrative logic. Everything seems to tell us that we are in a dream. But no. The ultimate precision of cuts and mis-en-scenes asserts the reality of real. We see life as a mystery before it is formed into a story. Only few people can master this state of becoming. And the impression is indelible. »

Alexei Medvedev, curator and film critic

About « Film-collage 2 – amour » (2022)

Many experimental filmmakers have sought to represent love as it is experienced at the peak of joy, passionately, tenderly, deeply, in the giving of oneself and the merging with the other. After her forerunners Shirley Clarke (A Moment In Love, 1956) and Carolee Schneemann (Fuses, 1967), Anaïs Ibert tackles this figurative challenge, which has nothing to do with pornography, with complete candor and modesty – “this movie is a possible representation of love,” declares the title card -, and seeks to create an erography reflecting the feelings experienced.”

                                              Nicole Brenez, historian, theorist, film programmer, expert on avant-garde cinematography



About my work, 02 minutes

website translation by Astrid Defrance