Anaïs Kabore: Intimacy, Vulnerability, and Connection in Filmmaking

Can you tell us about the themes that inspired you as a filmmaker and influenced your creative process?

I always begin with a theory and then question how it can be presented to the public as an experience, rather than in an explanatory way. I’m interested in finding techniques that focus on the audience’s experience, considering experiential knowledge alongside written knowledge. In my bachelor’s film, Daisyworld, I explored the concept of Anthropocene which refers to the current geological age where humans and industrialisation have the most dominant impacts on the climate and environment. I was struck by the idea that human destruction is also part of nature. During that research, I questioned how we can think about our surroundings by accepting that we have already destroyed so much, and how we can move forward and find new relationships with nature. I wanted to express this in a film, not just as a concept, but as a way of perceiving life. I read a lot of texts that shifted my perception, so I wondered how other people could experience these concepts in a movie. 

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Phenomenology is the philosophy of experience, which is also key to my approach. In this philosophy, subjective knowledge is considered as important as objective knowledge. I believe that much can be learned by questioning subjective experience. I started adopting this in film – How is a film perceived subjectively rather than objectively? How can I tell a story based on the physiological influences of film, instead of a classical narrative? For instance, how does the use of light and brightness shape the viewer’s perception in a pre-reflective way? I had already started exploring that in my bachelor's but I really delved into it during my masters. It was nice that I found a philosophy that aligned with what I wanted to create and also helped me better understand myself and the world. 

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How has merging fiction and documentary influenced your creative process?

I wanted to include documentary aspects in my work because it’s a medium that allows me to question my own way of relating to the world, while fiction is about creating a world. Combining the two helps me find strategies for questioning life in new ways. Filming with non-actors, for example, allows me to explore and capture people’s honest first reactions.

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In your master film, Touch Me With Your Eyes, how did you blur the line between documentary and fiction? 

I wanted to use film to question life directly. Because while fiction can be a controlled setting, elements of documentary allow me to engage with the world as it is. In my master’s film, I was exploring how I related to what I saw and how much I could challenge ingrained ways of thinking. One way I did this was by working with non-actors. We spent a lot of time talking and developing trust. We created scenes where we started from ‘action’ and let everything unfold spontaneously. For example, we would film in public spaces without knowing how people would respond. It became a way of observing life as it happens and questioning the reactions that naturally occur. In a way, I think I influenced the scene, but I also observed what the world gave back to me. Film can be structured and well-taught with process, but art can often be seen as a product, so I wanted to find honesty in each moment of the process of this film. I care about how the actors feel in the moment, even if it is just ‘acting’ or ‘pretending’ to be in love – the emotions they experience are very important, not just the end product.

Elements of documentary allow me to engage with the world as it is

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How do you best genuinely portray intimacy?

Trust is very important. I was very touched by how open and honest the actors in my master’s film were about the process. From the beginning, we focused on creating a safe space where they can search for themselves in the film to explore vulnerability. We also worked with an intimacy coordinator, which helped us build trust and explore different acting techniques. In this movie, every scene had a purpose and a question to explore. In some, the actors brought their own personalities to the screen. But in intimate moments, we balanced that with being intentional about boundaries and communication to ensure everyone felt comfortable and supported.

It became a way of observing life as it happens and questioning the reactions that naturally occur

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What is your approach to making the audience feel and not just see?

It is all about setting up the spectator from the beginning of the film. I try to make the audience let go of the usual way they interpret movies. It’s about creating a sense of imbalance that invites them to engage with the film emotionally rather than searching for clear answers. However, there is no clear answer to this because it is what I am continuously exploring, but I think about how the content shapes the form of the film: I think about the role of light, silence, and the awareness that watching a film is a shared experience. What kind of emotions emerge when you are watching a film and a stranger is sitting next to you? With these questions, you can start to curate an experience.

It’s about creating a sense of imbalance that invites them to engage with the film emotionally rather than searching for clear answers

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What influences from your experience at KASK are you taking with you? 

My mentors, An van Dienderen and Geert Belpaeme were incredibly supportive throughout my master’s film. They guided me through the process, the insecurities and also the enchantment by just talking with me about what I was questioning. I feel like a lot of the film teachers at KASK, try to understand you and try to find your language and support it. I also met a lot of fellow filmmakers and we supported one another. Some of us are starting a small production company to produce our own films and keep that spirit of collaboration alive. I realised one thing I miss after graduation is the exchange of ideas and the support we got from just talking to each other. I think a lot of films are made in these exchanges.

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Any lessons learned that you’d like to share? 

The writing process in filmmaking tends to be hierarchical and individualistic, but I think that it’s starting to change. I feel as a filmmaker, it is possible to write collectively. Being part of an individualistic society and trying to make your impression on the world can make you more isolated. I think we have to learn to resist that and realise that there is so much beauty in working together. 

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<div class="editorial-banner"> <div class=“editorial-credits”> @anaiskabore<br/>Different Class and KASK & Conservatorium are teaming up for a series of artist portraits, featuring some of the interesting alumni and student profiles. <br/> schoolofartsgent.be</div></div>