Anaïs Sloane Beaumont-Delgado is a film producer known for her quiet influence and deliberate approach to storytelling. Raised between London, Paris, and Manila, she comes from a lineage of generational wealth but has built a reputation that stands on its own, separate from her family’s name.Originally trained in photography, Anaïs developed a sharp eye for detail and composition, something that now defines the projects she chooses to back. She prefers working behind the scenes, shaping narratives, assembling the right people, and maintaining control over the final vision without stepping into the spotlight herself.

Anaïs’ college years were the closest she ever came to living outside the expectations tied to her name.She completed her bachelor’s degree at University of the Arts London, studying photography with a double major in filmmaking. Even in a space built for creatives, she kept to herself. She avoided the louder, more social circles and spent most of her time in studios, editing suites, and darkrooms. Her work stood out early, not because it demanded attention, but because it was controlled and deliberate. Every frame felt considered. She never felt the need to explain it.Her time at Princeton University for her master’s marked a shift. She moved further into film, focusing less on capturing moments and more on shaping them. It was also where she became more intentional about staying behind the scenes. While others leaned into visibility, Anaïs stepped back, focusing on production, structure, and creative direction without attaching her name too loudly to the work.

[ her mother ]   Vivienne Claire Beaumont.
Their relationship is defined by distance and expectation. Vivienne built an empire and assumed it would be inherited in the same image. Anaïs stepping away from that path created a quiet but lasting divide. There is respect, even admiration, but very little warmth. They understand each other in theory, not in practice.[ her father ]   Mateo Delgado.
He is where Anaïs feels most understood. Their bond is rooted in shared instinct and a similar way of seeing the world. He never asked her to follow him, which is why she did. Even now, he is her constant, someone she returns to when everything else feels too calculated.[ her brother ]   Lucien Alonzo Beaumont-Delgado.
He took their mother’s place without hesitation, stepping fully into the world Anaïs walked away from. Where she chose distance, he chose responsibility. They exist on opposite ends of the same expectation, but there is no bitterness. If anything, there is a quiet understanding between them. He carries the weight she refused, and she respects him for it. They are not emotionally close, but they are firmly on the same side when it matters.

[ her assistant ]   Clara Reyes.
What starts as a working relationship becomes something built on precision and trust. Clara understands Anaïs’ standards, her silences, and the way she works without needing constant direction. Anaïs does not easily rely on people, which is why this dynamic matters. It is not personal, but it is steady.[ her longtime friend ]   Julian Moreau.
The one person who meets her on equal ground. Julian pushes back, challenges her decisions, and refuses to be managed the way others are. There is history, creative tension, and mutual respect. This is where Anaïs is least guarded, not open, but less closed.

name.       Anaïs Sloane Beaumont-Delgado
nicknames.       ANA. SLOANE. AIS.
GENDER       FEMALE, SHE/HER
sexuality.       PANSEXUAL.
date of birth.       03/23/1997.
age.       28.
occupation.       film producer.
birthplace.       london, england.
current residence.       london / manila

persona.       composed, observant, controlled, quietly assertive, emotionally guarded but deeply perceptive.positive.       discerning, disciplined, intuitive, loyal to a select few, calm under pressure.neutral.       reserved, private, selective, independent, detail-oriented.negative traits.       distant, emotionally unavailable at times, overly controlled, can be dismissive, struggles with vulnerability.likes.       film photography, quiet sets before shooting begins, late nights editing, galleries, black coffee.dislikes.       unnecessary attention, performative people, lack of preparation, being underestimated, forced intimacy.hobbies.       photography, film curation, traveling alone, collecting rare photobooks, visiting museums.eyes.       dark brown
hair.       long dark brown. occasionally blonde (when she's going through her yearly mid-life crisis)cutandgrain anaïs’ private account, not to be confused with her main account @/SLONEPROD which is mostly run by her team.anaisjpg anaïs’ private private account.

Her favorite productions.

1. The Shape of Quiet
(Film, Cannes Best Screenplay Winner)

A restrained character driven drama about a sound designer who loses her hearing and begins rebuilding her relationship with the world through memory and vibration rather than speech.Anaïs chose to produce this film because it reflected the way she experiences people, through absence, detail, and what is left unsaid. She came across the script during a period where she was constantly surrounded by noise in both her family and industry, yet felt increasingly detached from it. The story felt familiar in a way she did not try to explain. It was not about silence as a concept, but silence as a way of existing.It was the first project she supported without any commercial reasoning. Julian Moreau directed it, and it marked one of their earliest collaborations. He later mentioned that she never tried to reshape the film into something more marketable. She only asked if it felt honest, then built everything around that answer.

Paper Lantern City
(Limited Series, Emmy Award Winner for Outstanding Limited Series)

A political family drama set between Manila, London, and Paris, following three siblings dealing with the aftermath of their mother’s death and the collapse of their family’s corporate legacy.Anaïs was hesitant at first because of how closely it mirrored her own life. The structure, the inheritance, and the emotional distance between family members felt too recognizable. What changed her decision was a line in the script that read, “We do not inherit love, we inherit systems.”She never publicly connected herself to the project, but those close to her understood why she stayed attached to it. It was the closest she had come to reflecting her own family dynamics without naming them.Julian Moreau directed several key episodes. Their collaboration became quieter here, less verbal and more intuitive, built on long-standing trust rather than discussion.

Glass Apostles
(Film, Academy Award Winner for Best International Feature)

A minimalist film about a war photographer documenting humanitarian crises while slowly losing her sense of identity and emotional distance from the work she is doing.
Anaïs was drawn to the project because it questioned the ethics of observation. It explored what happens when witnessing becomes a form of consumption, something she had thought about since her early photography work.
The film was rejected by multiple studios before she personally stepped in to finance it. The reason she gave internally was simple, that the discomfort it created was necessary.
Julian Moreau directed the film, and it became one of their most internationally recognized works. He has said that she never interfered with creative decisions, except to insist that every shot have intention and purpose.

about mun.

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