Ery Claver

One day, air conditioners in the Angolan capital Luanda start to mysteriously fall from buildings. When security guard Matacedo is told to get his overheating boss an air conditioning unit by the end of the day, he embarks on a mission that brings him into contact with the eccentric owner of an electronics store.

When a chinese merchant brings to a neighbourhood of Luanda a peculiar holy plastic figure of Our Lady, a mourning mother will seek peace, a committed barber starts a new cult and a stray kid will look for revenge for his lost friend.

A being that has only bodily existence, an object used to satisfy needs and desires. On the screen, Lúcia preserves only a distant look that hides screams, fears and explosions. She is always ostracized and silenced by the sexist society that at no time considers her opinion and desires. Lucia is the woman's silent report associated with a role or function without the right to be, to think or to express opinions.

X, a young man navigating the intensity of life in Luanda — a city that mirrors the energy and contradictions of many African megacities. Alongside his siblings, Lele and Maria, he takes refuge in art, wrestles with faith, and draws strength from the bond of brotherhood. Together, they find release in the underground — from poetry slams to clandestine clubs — where words become weapons of resilience.

Luanda, Angola. The streets are deserted, the buildings empty and no ships leave the harbour. What's left are ghosts and memories. Concrete Affection – Zopo Lady is inspired by journalist Ryszard Kapuściński's descriptions of the last colonial days in Angola in 1976 and the exodus of Portuguese and white Angolans from Luanda.

Angola's complex history seen through the eyes of a fake taxidermy sable antelope. She takes us on a journey that links colonial ideas from the past with contemporary reality. This short contemplation on the conservation of memory is a brilliant mix between static painted, staged histories, and a physical parade through the streets.

The Angolan Civil War still casts its shadow across the life of a young widow. The camera wanders through the rooms in her house, recording everyday objects and activities, while she describes how the war entered the family in a poetic monologue.

Enoch is born dazed from a bathtub in a workshop of automobiles, and gets lost in the streets in search of a heart.