Introducing cinematographer Inès Tabarin, newcomer to the AFC

The AFC is lucky to have Inès Tabarin, by Caroline Champetier, AFC
I was introduced to Inès Tabarin by Marin Roux when we began preparing for Annette.
I immediately liked Inès’ determination : Annette was still far in the distance, and making this film was going to require a great deal of effort and unflagging determination. Without our having to explicitly tell her all this, Inès understood it. We had shot a few commercial projects together and then the marathon of preparation began, with the screen tests of the marionette, the first emotions, the first attempts at screening for the storm, research on the moon and on color… Ines was present, concentrated, involved, and participated in all meetings and discussions. Her relationship to technology is rapid, as is the case for everyone in her generation, but is also intelligent : she goes straight to the point without getting wrapped up in the technics. It would be interesting to hear what her experience was on that shoot, but I can say she showed her mettle and remarkable loyalty.
Before shooting Annette, Inès was working on music videos (Jeanne Added, Camilia Jordana, etc.) and short films. Her feeling for images is clear, sensitive, and when she showed them to me, we discussed them the same way we discuss the latest films released : what moved us, what we questioned. She is a true cinephile, both in artistic and technical terms. Today, Inès already has two feature films to her credit, dozens of music videos, an activist feminist series made with Iris Brey, and is currently in preparation for Alix Delaporte’s next film. She moves quickly.
I am sure she feels it is an honor to join the AFC, and I think we are very lucky that our association is attracting young women such as herself, who must come to occupy a decisive place within it.

Inès Tabarin, an enthusiastic and inspiring person, by Benoît Delhomme, AFC
I met Inès on the shoot of a Chanel runway show at Baux de Provence on which I was trying to direct the photography despite the ten cameras I had at my disposal. Of the ten camera operators, Inès seemed to me to be the only one who was truly looking for shots. She immediately appeared very precise and engaged in her approach to the work.
Then, I learnt that she had assisted Caroline on the shoot of Annette, by Leos Carax, which made perfect sense.
I understood why they would get along with one another, so much so that they recently shot Par cœurs, by Benoît Jacquot, together.
Inès has done the lighting on many short films, commercials, music videos, and, for the time being, just two features. In everything I have seen by her, I find great rigorousness in her choices, a maturity in lighting that isn’t trying to be noticed, and also experimentation that is sometimes close to that of contemporary art.
Inès is very enthusiastic about becoming a part of the AFC, and sharing her deep knowledge about cameras and lenses which she learnt working with Caroline.
She is one of those cinematographers who make our profession more interesting when they talk about it and make you want to continue to be one. She is an inspiration.

You should also read the preface that Inès wrote for Chantal Ackerman’s book Ma mère rit (L’Imaginaire, Gallimard). It is lovely.

(Translated from French by A. Baron-Raiffe)