Paulina Galazka

Raped and abandoned, Hie-jeong gives birth to a son and tries to make the best of her situation. She marries Woo-il over the objections of his family who blame Hie-jeong for her past. When the rapist suddenly reappears, demanding custody of the child, Hie-jeong's husband kicks her out of the household under the impression that Hie-jeong has been lying all these years about her relationship with the other man. —Anonymous

Photographer JR gains unprecedented access to a high-security US prison, giving inmates a voice through art. He creates a temporary courtyard photo collage visible from the sky while exploring stories of prisoners, guilt, and forgiveness. In the heart of Tehachapi, California, amidst an eerie landscape in the middle of nowhere, the most unexpected and unforeseen space that could lend itself to the creation of an artwork emerges; one of the most impregnable high-security prisons in the USA. Photographer, street artist, and documentary filmmaker JR (who has blessed us alongside the unforgettable Agnès Varda with the delightful Visages Villages), having secured unprecedented access to the correctional facility, sets out on an art project that at first glance seems positively outrageous. Giving for the first time, both a voice and a platform to the inmates who have spent their most prolific years in a state of confinement, becoming addicted to a world of violence and brutality, JR bestows upon them the invaluable gift of self-respect through art's therapeutic properties. Visible only from the sky and by its nature temporary, a photo collage in the courtyard transforms into an allegory of a primarily internal liberation. At the same time, stories of former and current prisoners and testimonies of their relatives intermingle with the process of creating the artwork, thus enabling a discussion on the philosophical and existential shades of concepts such as mistake, guilt, sin and forgiveness. —Thessaloniki Documentary Festival