While Aya has dreams of becoming a doctor, her two best friends, Adjoua and Bintou, just like to hang out and spend their evenings dancing, drinking and flirting with boys. Their ambition is to follow Plan C: Combs, Clothes and Chasing Men! But big trouble comes to town when Adjoua realizes she’s pregnant, and the baby’s father is the spoiled son of one of the richest and most feared men in the whole country.
Aïssa Maïga Tella Kpomahou Tatiana Rojo Jacky Ido Emile Abossolo M'bo Ériq Ebouaney Pascal N'Zonzi Atou Ecare Claudia Tagbo Sabine Pakora Jean-Baptiste Anoumon Djédjé Apali Mokobé Traoré Corinne Haccandy Diouc Koma Marina Kouamé François 'Jack' Mobio Binda Ngazolo Angelin N'Gbandjui Nina N'Gbandjui Ernest Odje Marguerite Abouet
Η Αγιά από το Γιοπουγκόν, Aya - Aventuras Num Mundo Inesperado, 아야의 밤엔 사랑이 필요해, 约普城的阿娅
USA Colcoa French Film Festival 
France 
Ivory Coast 
Portugal 
South Korea France France France France Ivory Coast Portugal South Korea USA 
Got to love how the film was faithful to the graphic novel series' colorful aesthetic and the portrayal/social critique of their life in Yopougon, Côte d'Ivoire. The vintage live-action TV commercials and the music (one of my favorite soundtracks of the year) <3
U.S. American comics/graphic novels should focus more on developing animated (true to their artwork) film adaptations instead of live-action ones.
One of the most appealing aspects of the “slice of life” films is how they employ a more laid back tone as they take their audience through the entertaining lives of everyday people with no real journey or goal needing to be accomplished. However, it’s not the easiest style of storytelling to get right, as the filmmakers must walk the line between being wonderfully aimless and utterly pointless. You want what happens in your film to be more relaxed and spontaneous, yet you want to ensure what’s going on is imbued with some sort of meaning or value. And unfortunately, this is something Aya of Yop City is unable to do. It shows us the lives of a variety of…
non seulement tu es laid mais tu trouves le moyen de te reproduire😩😩
When you can't cry... you laugh!
Aya of Yop City, based on the comic of the same name, is a breezy, "light"-feeling comedy set in70s West Africa following a group of women while they try to improve their economic situation (i.e. their entire lives) and go through the day-to-day.
The main prospects that work in their society is finding a promising man to take care of them and elevate their status.
But relying on men can lead to all sorts of trouble and Aya of Yop City takes a comical approach to these women's journeys. And boy is this movie funny. There are set ups and jokes here that are satirical, absurd, and almost surrealist. The tone is light but…
That baby came out with a full Afro and 30 year old face
The vibe here is lovely. Just a bunch of teenage friends hanging out, living their lives. It's not exactly low stakes (a good portion of the movie centers around an unwanted pregnancy), but it doesn't try to extract every last drop of emotion from the audience either. The music is nice, and the animation is colorful and delightful. More than any other animated movie I can think of, Aya of Yop City features characters who all look distinct, but all belong to the same artistic vision. This attention to detail greatly works to the film's advantage with a late movie plotline about trying to find two characters who look alike.
The story, however, didn't work for me. It's just a…
men ain't shit!!!!!!!
A humorous and melodramatic slice of life taking place in 70s Cote d'Ivoire. The titular Aya acts more like a narrator than a lead character here, the stories told in this film feel a bit scattershot and there isn't much of a resolution but it's a quick, entertaining watch. The background animation is gorgeous too.
I’m a huge fan of GKIDS Films, not just because they’re responsible for introducing Studio Ghibli masterpieces to wider audiences, but because they have an uncanny ability to find and release bold, diverse, and high-quality animated content from all corners of the globe. Japan, France, Ireland, Spain—every release from GKIDS feels like a cultural treasure. They consistently prove that animation is an art form capable of telling mature, thought-provoking, and universally resonant stories in ways that Hollywood rarely dares to attempt.
One such standout is *Aya of Yop City*, a film that completely captivated me. This isn’t just a coming-of-age story—it’s a vibrant, deeply human exploration of life in the Ivory Coast during the late 1970s. Adapted from the graphic…
“Not only are you ugly, but you found a way to reproduce!”
I watched this on a recommendation from Peter H and am very glad I did. It has the soft color tones that I like and an animation style that feels very cozy. The story gets a bit too soap-opera-ey for my tastes, but the characters are extremely well defined and the location/language a delight to observe. Makes me want to get back to learning French, honestly.
The expectations set for these characters are highly relatable despite the story taking place in a foreign and rather distant culture. Furthermore, there’s a deep lesson to contemplate here about how life goes on no matter our successes or failures. The meaning and value of our individual actions need to come from within, as externalities are largely uncontrollable. Don’t leave your happiness to chance!
MARCH AROUND THE WORLD 2022: Ivory Coast
The negative response must just be from people really impressed with the original story cause I liked a lot of this. I liked the art style and I like how Aya was smart and meant for more without really shaming her friends. The animation never really does anything outstanding but I think the character design is interesting and speaks for itself a lot of the time. I even think it’s funny when it wants to be, it’s a lot of somewhat cheesy observational stuff but it’s charming in its own right.
A great looking, but ultimately scattershot and shallow take on a beloved source material. Like so many animated films, it frustratingly attempts to add visual flair to narratives that neither collectively nor individually build to anything substantive.
