When Jaehee, a top call girl at a club in Gangnam, goes missing, Detective Kang Dongwoo returns to crack the case. Prosecutor Min Seojin aims to rise in rank, while the notorious pimp, Yoon Gilho becomes a prime suspect. They unravel a web of secrets and connections behind the case.

Stray Kids团综mu:fully B SIDE。

Stray Kids团综mu:fully B SIDE。

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

When a Korean family unexpectedly immigrates next door, Taylor, a 14-year old Korean-American adoptee discovers her roots and the whereabouts of her birth family.

The high school girl Utage is a fan of the idol group F/Ace, especially its star Tamon Fukuhara. During her job as a part-time house-cleaner, Utage substituted for a sick co-worker, and found herself at Tamon's house! It's like a dream come true, except Tamon in real life wasn't quite what she expected from her idol…

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.

A woman recounts the last night on earth of a 100-year-old man who fights for the redemption of the misdeeds of his life.

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)