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Super Cut Free Way

Super Cut Free Way

Directed by Vasco Diogo  |  Review by Aindrila Chatterjee

[dropcap]T[/dropcap]he film starts with a combination of several creative videos which can be defined as digital primitivism. Digital or Techno primitivism encounter with work by an artist who had encountered some of his ideas. In digital primitivism, it’s not always easy to tell exactly where the artist’s work ends and the critic’s work begins. It is the record of images that would not have been made and thoughts that would not have been thought had two individuals not chanced to become conversant.

“Super Cut Free Way” is a silent film made on the combination of several mobile video apps. The technological determinations and limitations are faced as an expansion of imaginative possibilities. The flux of images follows a free poetic order documenting the medium’s experimental specificity. The film was made with phone video apps, and it took almost two years to complete the whole process. Throughout the movie, there is a continuous flow of video images juxtaposed one after another.

Vasco Diogo, the director of the film, was born in Lisbon in 1970. He did PhD in Communication Sciences and started his teaching career at the University of Beira Interior in 2008. His subjects of teaching are cinema direction, new cinemas, and experimental cinema. After being the co-founder of Projecto Teatral since 1998 in performance, video art, and experimental cinema, he won several international awards like Calcutta International Cult Film Festival and many more. He has shown his works in various exhibitions and festivals in India, Canada, USA, Spain, Itlay, France, Germany, Cyprus, Poland etc.

According to him, “I consider myself a beginning artist with a beginner’s mind. Most of the time I don’t know exactly what I’m doing except for the fact that I’m working in a flux of expanded consciousness quite different from ordinary life. In spite of that, I like to work on the blurring of frontiers between life and art by including processes and actions that were always available to my intuition and judgment. But, on the other side, I’m strongly influenced by the language of experimental cinema and video art, not only as a viewer but also as an academic researcher and teacher. That led me to a growing conceptualization of my work regarding issues of medium specificity (mainly related to video art) such as technology co‐creative determination, temporality, manipulation, self-documentation, the body as language, the hybridization between image, sound and real space and the viewer’s implication in the work.

These are all “serious” things which I like to explore with a good sense of humor keeping in mind “classical” artistic values such as image composition, color, form, rhythm, etc. All intuition is also a matter of perception and all perception is also a matter of reasoning.”


“Glamour is not for us, it’s for others”. Hearing that Aindrila came into the world of media. Her struggle started from her college days. She loves to communicate with people. Adventure is her first love. Worked in many Bengali media houses like Aajkaal, SNews during and after her university days. She loves literature, drama, cinema, football, and cooking. She loves to learn new things daily. According to her, communication and books make a person more knowledgeable.

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