Yet just as it seems that Assor has concurred the gaze entirely and mastered the skills of looking completely, his Cut Stories disclose the looks of many others gazers who's conversation circle him, us, and each other. A midst his eye's attempts to dethrone the gaze, Assor never the less allows other eyes and lips to partially yet freely participate in the videos construction. Sited in front of the cameras, they expose and externalize crisis and recoveries, verbalizing and accident they had conducted or experienced. Then, standing up they also film this event and thus demand their place as active participants behind the scenes. On the one hand, under Assor's command, their stories are deprived of them and their language ceases ti be their own: it leaves them and returns, presides their bodily performances or appears belatedly. Simultaneously, However, Assor's attempt to construct system of fragmented sequences is cracked and contested at several allusive moments that function as the works crucial puncture: eyes that squinted anxiously, as she was unaware of the camera that just hit her cheek: eyes that burst in laughter as she was hearing the painful story of another: eyes that lay softly on your face for years, until that day she had suddenly left, and still, they hunt your images now as before.