Laurène Lubanza (IIM 2021): She’s taking the plunge and creating her own series… and audiences are coming back for more!
Whether through her writing, her columns, or her audiovisual projects, a guiding principle emerges for Laurène (IIM 2021): using creativity to reveal, question, and evoke emotion.
She quickly moved beyond the scope of traditional communication to explore more immersive and narrative formats: video production, motion design, interviews, and storytelling. At KION Group in particular, she has reinforced this approach while leading engaging initiatives such as a women’s discussion group. This experience has confirmed her belief that effective communication is communication that elicits a response, amplifies voices, and gives meaning to messages.
At the same time, she deepened her commitment to socially conscious and personal writing: her novel *Barry, I Love You* (inspired by real events) as well as her columns—notably for *Global Africa Telesud*—reflect a strong interest in sociopolitical issues, questions of identity, justice, and representation. She uses storytelling as a tool to decipher reality and bring forth stories that resonate.
In 2023, she reached a milestone by launching Hiver 2011, a seven-episode thriller series that she writes and directs. And action! 🎬
Education & Early Career
➤ To what extent did IIM serve as a springboard for your career?
“My studies at IIM were incredibly valuable to me, both professionally and personally. I earned my degree in Digital Communication – Social Media Strategy there, completing the program through a work-study program. This combination was particularly enriching: it allowed me to gain professional experience while taking courses where we worked on real-world projects.
I also had the chance to meet passionate instructors, some of whom I’m still in touch with today. These interactions played an important role in my development.
Beyond the strategic and digital aspects, IIM also gave me several opportunities in the audiovisual field. I’m thinking in particular of a second-year course where we produced, as a group, a short promotional film. This exercise, which might have seemed trivial, actually awakened that cinematic passion that still drives me today.
And then, I was part of a dynamic class, with inspiring talents, with whom I’m still in touch, which fueled my creativity and strengthened my desire to tell stories.”
➤ When did you realize that you wanted to tell stories, and especially bring them to the screen?
“When I was 7, I started writing my own stories. For me, it was a way to open a door to another world, a space where I could invite others to discover a universe they didn’t yet know and make it as believable and coherent as possible. That desire never really left me: I kept writing little things here and there, without necessarily thinking it would one day become a professional endeavor.
Later, one encounter played a decisive role: meeting Barry. I was determined to tell his story, and finishing a book gave me real confidence. It proved to me that I could see a story through to the end, give voice to a character, and structure a narrative. That’s when I started to view writing as something more concrete.
Then there was Brian, my co-director on Winter 2011. We built this series project together, almost like a puzzle taking shape piece by piece. As we saw the plot solidify, the suspense build, and the characters come to life, we told ourselves that this project deserved to exist on screen. That it would be almost a shame to let it lie dormant on paper.
In the end, what pushed me to take the plunge was this desire to see the process through to the very end: to write, develop, and then bring it to life. To take a project that’s close to our hearts further and higher. The Winter 2011 pilot represents exactly that for me: a milestone achieved, a source of pride, and proof that this childhood desire—to tell stories and bring them to life—has never left me.”
Hiver 2011
From conception to the production of the pilot, she oversaw this project from start to finish alongside Brian Houart: writing the scripts, managing casting, and assembling the teams. Also working alongside her was the production company Hediji Films for filming, post-production, and distribution. An ambitious project, shot in 13 days, with the pilot already screened at Publicis Cinémas (in front of 400 people on February 5) and at the Club de l'Étoile (on May 3).
The synopsis: Djibril and Niako, two inseparable friends, grow up together and spiral into a series of increasingly risky crimes. Until one winter night in 2011, when a tragic event seals their fate forever. Seven years later, their paths have diverged: one tries to lead a respectable life, while the other struggles to move on. But some secrets never stay buried for long...
➤ What was the biggest challenge in this experience?
“The biggest challenge was for Brian and me to embark on this adventure without any prior directing experience. The decision to direct our own series was a bold one, but it was important to us: we wanted to see our artistic vision through to the end and offer our own narrative interpretation of the project.
On set, I realized the scope of the role. A director must guide the actors, maintain the consistency of the world, handle the unexpected, and stay effective despite the pressure. Some days, the stress was real: an entire crew is counting on you, and you have to succeed in turning every idea into an image, even under sometimes difficult conditions.
Fortunately, we were surrounded by an exceptional team—about forty people—who carried the project with us. I’d like to give them a special mention because, despite the challenges, they stuck with us.”
➤ What audience feedback has made the biggest impression on you so far?
“We’ve received very positive feedback, and I’m really proud of that. People really liked the plot, and the plot twist made a particular impression on viewers. That reassured us that we were able to place the emotions and suspense in just the right places.
Seeing the audience get drawn into the story and react exactly where we hoped they would is extremely rewarding.”
➤ What are the next steps for the project?
“The next step is to continue producing the following episodes. To do this, we’re looking to meet with broadcasters and producers who might be interested in the project. We believe deeply in Hiver 2011 and want to give it the reach it needs to attract key partners. We’re ready—we’re just waiting for you!
At the same time, we continue to organize screenings to share our work with as many people as possible. What’s very encouraging is that a real community has formed around the project: an audience that follows us, supports us, and keeps coming back for more. This is a valuable asset for the future.”
Networking and Advice
➤ Is networking (whether professional, personal, school-related, etc.) important for moving forward? Did it play a role in bringing Hiver 2011 to fruition?
“Networking plays an essential role in any professional project, and Hiver 2011 is a very good example of this.
Today, recommendations, experience, and personal connections have become crucial: being surrounded by competent, experienced, or simply supportive people can truly change the dynamics of a project. A good network serves as support, a catalyst, and a source of valuable advice.
Specifically, it was thanks to an event organized by Neeedco—an inclusive organization that connects audiovisual professionals—that we met key people for the series. That’s where we met Rayen and Oumar, as well as agencies like Iconik Agency, which helped us find the young actors. We also collaborated with the Inspi Off collective, which trains young people in film careers and offers acting classes.
All these encounters played a direct role in bringing the pilot to life. Without this network, certain steps would have been much harder to take.”
➤ What advice would you give to students or recent graduates who want to get started in audiovisual production?
“The best advice I could give is simply to just do it. To create, to experiment, to stand up for your ideas, and above all to protect them—that’s essential in this industry.
I would also tell them to be bold:
- Be bold enough to invest in yourself,
- Be bold enough to participate in audiovisual events,
- Be bold enough to reach out to others, even when it feels intimidating.”
A conversation can open a door; a meeting can change a project. And if one person doesn’t seem interested, it doesn’t matter: others will be. The important thing is to persevere, stay curious, speak up, and surround yourself with others.
In this field, creativity matters, but determination makes all the difference. Believing in yourself and your project is the first step—and one of the most important. That inner conviction gives you the strength to move forward, but above all, the confidence you need to talk about it, defend it, and get others on board with you.
An Alumna to follow!
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