In the heart of 'Sapta Sagaradaache Ello’ (Somewhere Beyond the Seven Seas), resides an ardent love story between Manu and Priya. Set in 2010, the couple hails from a middle-class background. Circumstances land Manu in jail, putting his relationship with Priya in jeopardy.

Manu is released from prison and strives to rekindle his love with Priya.

《Ello Echo》是一个关于孤独和友谊的甜蜜故事。人们都期待友谊和爱情，主动去探索与消极等待相比，往往能带来更意想不到的结果。

《Ello Echo》是一个关于孤独和友谊的甜蜜故事。人们都期待友谊和爱情，主动去探索与消极等待相比，往往能带来更意想不到的结果。

A passionate Puerto Rican director faces mounting challenges while maintaining cultural authenticity in her production of West Side Story.

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)