CinemaAfrica 2025/26: A Conversation with ... Ery Claver
Abstract
- Abstract
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Cinema Africa Bayreuth goes into a new round! The first screening took place on 10 November 2025 at Cineplex Bayreuth where a double feature presented two Angolan films "Ar condicionado" and "Our Lady of the Chinese Shop". Ery Claver, who directed the latter and was responsible for cinematography in the former, was present in Bayreuth and answered the questions of the audience. To present two Angolan films to the Bayreuth public could not have come at a better timing as Angola celebrated its 50 anniversary of independence on 11 November 2025.
Ery Claver also sat down with Prof. Dr. Ute Fendler, initiator and curator of the Bayreuth film festival, and Adebanjo Oreoluwa Baderin, who is part of the Cinema Africa organisational team to answer their questions on the thoughts that went into making these two special films.
People & roles
Origins & context
- Title
- CinemaAfrica 2025/26: A Conversation with ... Ery Claver
- Language
- English
- Date
- February 23, 2026
Identifiers & sources
Full text
- Transcript
- Hello Erie. Uh, thank you for coming to Bro and presenting the two films, Air Conditioner and Our Lady of the Chinese Shop. Um, as we I mean Angolan films are not so common. Let's put it that way. There are not so many of them but they are very at least it seems that they are very particular also in their aesthetics and also in their storyline. Can you say something about your approach to film making also because you are you're in a group in a collective Jerasan Oenta generation 80 so there are a lot of very let's say specific elements um about film making in Angola. I don't know uh first of all lot of questions >> thank you for being here for the invitation but talking about specific uh cinema in langola for me is most difficult I can talk more about the experience that have been uh taking from working in this colleive because we as many countries Portugu Portuguese speaking countries in Africa, we had this colonial heritage and we still have that influence in terms of copper productions. But I think you can see the same in in franophony countries and our cinema were basically build with this kind of influence because most of the feature films that were made in Angola, they were made with French support or Portuguese support. Even the the television was very imposed by Portuguese way of seeing in and dealing with the aesthetics. But from now I think that Jerasenta breaks a little bit. Oh my very much this this this bro because we have um uh cinema more more oriented and to find our memories our way of of dealing with our own influences our cinematic influences. So is a a group with different kind of approach. I have a more orientated approach in literature. For example, we have Fredik that have more interest more interesting in in memories documentary heritage of Angola. We have some people like Camilada that are interested in dance >> in folklore dance. So we have this different approach with a specific aesthetical know because there are people that the works in… Read the full text about 4,468 words
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