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A TV worker has fickle designs on an aspiring singer for whom she arranges an audition.

It's about two complete strangers one vagrant, one middle class who realize they're both social outcasts, and discover in each other a kind of personal redemption. She's a reformed telemarketer with self-esteem problems. He's an eloquent crazy man with a mysterious past. She's looking for a job. He isn't. She has a place to live. He doesn't. She has deep conflicts with her parents. he's never met his. She's white. He's black. Why are they reaching out to each other? Maybe what draws them together is that they are both, in their own ways, abandoned. They seem to find a purpose for each other. and together they go on a day's journey through the city, their lives, their beliefs, sorrows and fears. They even begin to trust each other a little. At the same time, we wonder where he's leading her. She is meanwhile being stalked by the one man who really loves her an accordion-wielding software engineer, who cost her her last job because he wouldn't leave her alone...

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)

An obsessive young man cast in the role of a killer in an upcoming true crime production befriends a surviving family member of the real-life events.

After accidentally setting their principal's boat on fire, best friends Lex, Presley, & Munchy create an app to get jobs to pay off their debt. They'll do whatever it takes, no matter how embarrassing.