Christophe agrees to be filmed by his roommate Stéphane, while he is searching for a meaningful engineering job. Since he voluntarily resigned his job when he was to be moved to quality control, he does not get unemployment benefits, and goes to classes on how to contest the decision.

Wishing to escape from the chaos of his life, Makorn finds a house to rent. It has all the amenities but a refrigerator. He buys one second hand, and that night, Makorn gets a shock when he opens the fridge and his hand meets with another on the other side. The hand's owner is Pleo, a 29-year-old with a painful past. Once they each recover from their shock, they talk and discover they're communicating across different times. For Pleo, it's still Thai year 2550.

年迈的老人独自生活在破败的公寓内，四周充满腐败的气息，虫子在抽屉里蠕动，老人将一块肉放进去，喂养这个卑微的小生灵。 　　隔壁的响动惊动了习惯平常生活的老人，他隔着墙上洞窥视，看到对面一位裸体的老妇人，失去伴侣晚景凄凉的老妇人不堪忍受孤独的残生，在老人的注视下上吊自杀。老人来到隔壁房间，带走了老妇人的相片和尸体，他将尸体塞到床下，接着又把虫子放了进去。第二天，虫子和尸体合为一体，老妇人复活回到人间。两个孤独的人儿以奇异的方式相偎走过余下的人生……

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)

A palm reader comes between a woman and her boyfriend on a night that will change their lives forever.

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A psychedelic mushroom trip turns a successful lawyer into a wanted man.

Tensions rise when a doctor (Daniel Veronese) pressures his teenage son to follow in his footsteps.

The Emersons are a theatrical family, of sorts – one son Samuel,17, is a street performer who recites Shakespeare while his brother Beckett, 19, picks pockets in the crowd. Their father WARREN, a has-been thespian, spends the take on booze and ponies. But Samuel wants to make like his comic book hero ‘The Cardinal Comet’ and split; and a visit from a murderous loan shark gives Samuel a chance at freedom — but at a high price…