A woman risks everything to try and protect an asylum seeker in a totalitarian society in which all borders are militarized.

In 2007, Gillian Wearing placed an advert – in newspapers, online, in job centers, and elsewhere. It read: “Would you like to be in a film? You can play yourself or a fictional character. Call Gillian.” Of the hundreds of people who replied, seven – chosen through an extended process of auditions, interviews, and workshops – ended up appearing in Self Made. Of those seven, five in particular use the acting technique known as Method to delve into their memories, impulses, anxieties, fears, fantasies, and inner resources to create a series of individual performance vignettes, their personal ‘end scenes’, that reveal with particular intensity and clarity who they really are deep down – or who, in another version of their lives, they might easily have been.

Ray, a twelve-year-old boy, must confront the British legal system when he is accused of murder.

A young author comes into possession of a manuscript sent by critically acclaimed writer, Germund Rein, shortly before he commits suicide.

Nineteen-year-old Vera Kall cycles home through the night. She arrives at a farm, leaves her bike and sneaks quietly in through the door. She enters the kitchen and doesn't even have time to notice that she's not alone.

What is a human life worth? How is it possible that a woman like Agnes could agree to kill another human being? Is it the money? Or are there other forces at play?