May, the daughter of a wealthy Vietnamese businessman, wants to celebrate her 18th birthday in Bangkok and is willing to spend a lot of money to have dinner with her favorite Thai actor, Mr. Park (Puttichai Kasetsin). However, she starts to question whether money can bring true happiness and decides to meet Mr. Park as a regular person instead of a wealthy heiress. Her parents send a housekeeper and four bodyguards to watch over her, making it difficult for May to meet Mr. Park privately. She teams up with a friend, Dua Hau, to sneak out and meets a motorcycle biker named Boy (Vachiravit Paisarnkulwong), who helps her evade her bodyguards and get closer to Mr. Park. As May spends more time with Boy, she begins to question her feelings for Mr. Park and must decide who she wants to spend her special day with.

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.

Coral Atkins, a British soap star of the 1970s, becomes deeply affected by the plight of children from troubled homes. Against considerable odds, Coral harnesses her celebrity to launch a crusade to establish her own home to care for the children. Based on the memoirs of Coral Atkins.

A mystery, a comedy with an undercurrant of terror, about the expose of scandal in big business transactions and how a three year-old boy and his father lost each other.

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)

Ed and Alice are two months shy of getting married when she realizes that she wishes she'd had a more active love life while still single. Reluctantly, Ed agrees to have an open relationship in the months before their wedding, and initially this seems to improve their connection, particularly in the bedroom. However, as Ed and Alice get more involved in their own flings, the experiment goes awry.