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With WHO, Wil Aime signs his first feature film and returns to the West Indies with a team, a method and a story of creation. In Guadeloupe and Martinique, his tour revealed the other side of the story: that of a film that has been supported for years, between independent creation, territorial support and the desire to make his own cinema.
The public saw the theaters, the meetings, the photos, the post-screening exchanges. Behind this tour of WHO in Guadeloupe and Martinique, there was a precise mechanism. Dates to organize. Partners to mobilize. A team to bring in. Above all, one desire: to present the film where part of its imagination took root.
From May 30 to June 1, 2026, Wil Aime and his team enjoyed a series of highlights: a special screening at Cinestar, a Creative Talk at Café Papier in Jarry, a screening at Madiana, and meetings with professionals, students, media and cultural players. In the interview conducted around this event, Wil Aime explains that presenting the film in the Antilles was important to him. Guadeloupe and Martinique appear to be territories of attachment, inspiration and return.
Some sequences from WHO were shot in Guadeloupe. The film travels between France, the French overseas territories, Belgium, Switzerland, Canada and French-speaking Africa. The work is the brainchild of a Guadeloupean creator, developed in an independent framework, then seeks its audience beyond the usual frontiers of French cinema.
In the Creative Talk, Wil Aime talks about the Antilles as a place that nourished the film. He talks about these islands, their place in the French-speaking world, their position in a wider imaginary. The film reveals something of the relationship with the territory: the landscapes, the tensions, the identities, the way of situating oneself when one comes from an area often presented as small, whereas it produces talents capable of going very far.
The heart of this story may lie in a nuance. During the exchange with the audience, Wil Aime talks about the dream of “making my own cinema”. Before the feature film, there were the videos. Short formats. Tales with drawers. Scenarios where detail counts. With WHO, this grammar built on social networks changes scale.
The transition to feature film requires a different kind of discipline. Wil Aime admits it himself: moving from social networks to film meant learning how to convey his vision. On a film, an idea has to be understood, carried and executed by many more people.
Behind the scenes of WHO, there’s a collective: Ashley, Samira, Gary, Yasser, Emmanuel and the other members of Chaque Détail Productions. Many of them learned on the job. The word that comes to mind is versatility.
Ashley, co-founder and sister of Wil Aime, tells of an adventure that began even before the structure really existed. Samira talks about starting up with a smartphone. Gary talks about his technical apprenticeship. Yasser insists on his role in the field. Emmanuel brings production, distribution and broadcasting experience to the table. This collective gives WHO a concrete dimension. The film moves forward thanks to a team that learns, adapts, looks for solutions and accepts to work outside the most comfortable paths.
With WHO, Wil Aime signs his first feature film and returns to the West Indies with a team, a method and a story of creation. In Guadeloupe and Martinique, his tour revealed the other side of the story: that of a film that has been supported for years, between independent creation, territorial support and the desire to make his own cinema.
The public saw the theaters, the meetings, the photos, the post-screening exchanges. Behind this tour of WHO in Guadeloupe and Martinique, there was a precise mechanism. Dates to organize. Partners to mobilize. A team to bring in. Above all, one desire: to present the film where part of its imagination took root.
From May 30 to June 1, 2026, Wil Aime and his team enjoyed a series of highlights: a special screening at Cinestar, a Creative Talk at Café Papier in Jarry, a screening at Madiana, and meetings with professionals, students, media and cultural players. In the interview conducted around this event, Wil Aime explains that presenting the film in the Antilles was important to him. Guadeloupe and Martinique appear to be territories of attachment, inspiration and return.
Some sequences from WHO were shot in Guadeloupe. The film travels between France, the French overseas territories, Belgium, Switzerland, Canada and French-speaking Africa. The work is the brainchild of a Guadeloupean creator, developed in an independent framework, then seeks its audience beyond the usual frontiers of French cinema.
In the Creative Talk, Wil Aime talks about the Antilles as a place that nourished the film. He talks about these islands, their place in the French-speaking world, their position in a wider imaginary. The film reveals something of the relationship with the territory: the landscapes, the tensions, the identities, the way of situating oneself when one comes from an area often presented as small, whereas it produces talents capable of going very far.
The heart of this story may lie in a nuance. During the exchange with the audience, Wil Aime talks about the dream of “making my own cinema”. Before the feature film, there were the videos. Short formats. Tales with drawers. Scenarios where detail counts. With WHO, this grammar built on social networks changes scale.
The transition to feature film requires a different kind of discipline. Wil Aime admits it himself: moving from social networks to film meant learning how to convey his vision. On a film, an idea has to be understood, carried and executed by many more people.
Behind the scenes of WHO, there’s a collective: Ashley, Samira, Gary, Yasser, Emmanuel and the other members of Chaque Détail Productions. Many of them learned on the job. The word that comes to mind is versatility.
Ashley, co-founder and sister of Wil Aime, tells of an adventure that began even before the structure really existed. Samira talks about starting up with a smartphone. Gary talks about his technical apprenticeship. Yasser insists on his role in the field. Emmanuel brings production, distribution and broadcasting experience to the table. This collective gives WHO a concrete dimension. The film moves forward thanks to a team that learns, adapts, looks for solutions and accepts to work outside the most comfortable paths.
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It is a long established fact that a reader will be distracted by the readable content of a page when looking at its layout. The point of using Lorem Ipsum is that it has a more-or-less normal distribution of letters, as opposed to using ‘Content here, content here’, making it look like readable English. Many desktop publishing packages and web page editors now use Lorem Ipsum as their default model text, and a search for ‘lorem ipsum’ will uncover many web sites still in their infancy.
The point of using Lorem Ipsum is that it has a more-or-less normal distribution of letters, as opposed to using ‘Content here, content here’, making
The point of using Lorem Ipsum is that it has a more-or-less normal distribution of letters, as opposed to using ‘Content here, content here’, making it look like readable English. Many desktop publishing packages and web page editors now use Lorem Ipsum as their default model text, and a search for ‘lorem ipsum’ will uncover many web sites still in their infancy.
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