The story of a young single mother, Do Mi Sol, and her quest to make the world a warmer place to live in.

After placing his wife in a retirement home, Michel must learn to mourn the loss of a life and accept that the love of his life finds small joys.

香港首個演唱會躍登戲院大銀幕，容祖兒演唱會《ANOTHER SIDE .....JOEY·MY SECRET·LIVE》一票難求，英皇戲院獨家完整呈現祖兒與團隊心血之作，演唱會由2017年「JOEY・MY SECRET・LIVE」原班製作團隊打造，由彭秀慧擔任演唱會導演，何秉舜擔任音樂總監。 　　延續34晚香港演藝學院舞台感動。巨幕上欣賞一首又一首容祖兒的滄海遺珠，每一個動人的瞬間配上超凡的舞台效果多角度呈現，讓觀眾恍如置身演唱會現場，沉浸式感受容祖兒的秘密花園，1.19起英皇戲院限量上映。

香港首個演唱會躍登戲院大銀幕，容祖兒演唱會《ANOTHER SIDE .....JOEY·MY SECRET·LIVE》一票難求，英皇戲院獨家完整呈現祖兒與團隊心血之作，演唱會由2017年「JOEY・MY SECRET・LIVE」原班製作團隊打造，由彭秀慧擔任演唱會導演，何秉舜擔任音樂總監。 　　延續34晚香港演藝學院舞台感動。巨幕上欣賞一首又一首容祖兒的滄海遺珠，每一個動人的瞬間配上超凡的舞台效果多角度呈現，讓觀眾恍如置身演唱會現場，沉浸式感受容祖兒的秘密花園，1.19起英皇戲院限量上映。

A drama based on Jimi Hendrix's life as he left New York City for London, where his career took off.

Winner of the International Emmy Award for Best Telenovela, "Side by Side" focuses on two women of different origins and social classes. The brave Isabel, daughter of a former slave and in love with the capoeira player Zé Maria; and Laura, descendant from a wealthy family and destined to an undesired marriage to Edgar. In addition to an unshakable friendship, the two share the same purpose in life: the conquest of freedom in the conservative society of Rio de Janeiro of the early 20th century.

In this early work, Jonas translates her performance strategies to video, applying the inherent properties of the medium to her investigations of the self and the body. Jonas performs in a direct, one-on-one confrontation with the viewer, using the immediacy and intimacy of video as conceptual constructs. Exploring video as both a mirror and a masking device, and using her body as an art object, she undertakes an examination of self and identity, subjectivity and objectivity. Creating a series of inversions, she splits her image, splits the video screen, and splits her identification within the video space, playing with the spatial ambiguity of non-reversed images (video) and reversed images (mirrors). Though Jonas’ approach is formalist and reductive, her performance reveals an ironic theatricality. Illustrating the phenomenology of video as a mirror, Left Side Right Side is a classic of early performance-based, conceptual video. (Letterboxd)

In this early work, Jonas translates her performance strategies to video, applying the inherent properties of the medium to her investigations of the self and the body. Jonas performs in a direct, one-on-one confrontation with the viewer, using the immediacy and intimacy of video as conceptual constructs. Exploring video as both a mirror and a masking device, and using her body as an art object, she undertakes an examination of self and identity, subjectivity and objectivity. Creating a series of inversions, she splits her image, splits the video screen, and splits her identification within the video space, playing with the spatial ambiguity of non-reversed images (video) and reversed images (mirrors). Though Jonas’ approach is formalist and reductive, her performance reveals an ironic theatricality. Illustrating the phenomenology of video as a mirror, Left Side Right Side is a classic of early performance-based, conceptual video. (Letterboxd)