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A stage adaptation of the Korean film Parasite, which changes the setting to 1990s Japan. It ran from June 5th-July 2nd 2023 in Tokyo.

ストリップ小屋で働く光は大のヤクザ嫌い。それが何の因果かヤクザ同士の抗争に巻き込まれてしまう。

ストリップ小屋で働く光は大のヤクザ嫌い。それが何の因果かヤクザ同士の抗争に巻き込まれてしまう。

Beauty is only skin deep, but when you can’t see beneath the skin, how can you know what you’re really dealing with? In a world where perfect androids called Boomers have infiltrated every aspect of society, it’s the job of Branch to maintain peace between the people and the plastic. Unfortunately, not all boomers are created perfect, and when boomers go bad, people die. The thin blue line that separates man from machine is about to meet its most horrifying test in Parasite Dolls.

A skeptical professor falls under the spell of a powerful hypnotist.

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.

Norwegian sitcom about life on an idyllic street in Granli Norway, where the fences are low and neighborly relations close. Here we meet the residents who struggle with life's challenges big and small, trials all of us can relate to.

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)