Szymon Bobrowski

Trying to escape danger in a post apocalyptic world, Bannon realizes that his very existence will be put to the test. They came from the sky, bringing with them an eternal night. Then there came the flood that would change humanity forever. Bannon is trapped in the middle of an isolated city, which is perpetually covered by a black and rainy sky, and which epitomizes the end and decay of the old world. Seeking to leave this condemned area, he will realize that his very existence drags the vestiges of that world and they must be put to the test or perish in the abyss. —exe_malaga93 Strange creatures from outer space invade the planet. Under heavy rain, an mysterious man tries to start an old car, as darkness and fear seem to take in the rest of the human race. This man is named Bannon, who begins a survival journey, looking for food and drinking water to quench his thirst. In between, nightmares continually torment him in the form of mysterious apparitions: a child, a woman and a man. A cell phone about to run out of battery seems to be his only connection to the past world; until a pair of walkie talkies seem to connect him with another human being who will go to meet him and may be his salvation. Raking through empty cans and boxes, all he finds are piercing screams and the constant threat of these demons who fell from the sky. —exe_malaga93

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