People should not worry as much about what they do but rather about what they are.
(Meister Eckhart)

Anne Murat received a Political Science degree from Sciences Po, Paris and a European Degree in three Modern Languages. Anne began her career at the French National Film Center (CNC) before dedicating herself to film directing.
Directing is both a professional and a personal quest for her. It fulfils her curiosity, her sense of observation, and her need for communication. She views documentary as a sensitive medium, an art of meeting, where writing, image, shapes, colors, movement, time, sound, music, senses meet of course. But mostly, an art of meeting the other. The subject is the other, and the self through the mirror glass of the other. Documentary helps reveal the vibration of the beings as well as the world’s beauty.

Her first documentary: What’s the Deal? enabled Anne to immerse herself in a theatre company founded by Jean-Paul Denizon, former disciple of Peter Brook. This experience allowed Anne to question the concept of acting as learning and forging a path to self- knowledge.
Rangoon Cocoon, shot in Burma with photographer Richard Brice before the economic opening of the military regime, follows her quest for transmission by giving a more accurate and nuanced perspective of a little known country, and a space to a people, craving for change and a better future.
In Bali, she highlights the commitment of an extraordinary personality, Professor Suryani, who dedicates her life to helping and healing those “paradise crazies”, the excluded that we lock in and shackle for lack of treatment, out of sight of tourists.
In the documentary essay, Bukit Duri, she attempts to demonstrate a silent suffering, the slum dwellers of Jakarta left alone facing flooding and disastrous sanitary conditions, using a free narration, inviting the viewer’s memory and imagination.
«Fire Water Air» reiforces her commitment to connecting essay and documentary. The film illustrates the genesis of the creative act, where still life becomes vivid, and questions the posture of being and wanting to leave a trace. Creating a movement, a bond, instiling a breath.

The documentary travel diary “The Sirens of the Yangzi”, co-directed with David Bart, portrays contemporary China in its dizzying, contradictory complexity, showing the country’s gigantism and limitless expansion, as much as the joy and conviviality of Chinese men and women: porcelaine subjects in an elephant country.
She is currently developing a new feature documentary project.