Cling Film offers a series of vignettes which are in turn, both provocative and hilarious (a night clubber whose dick goes limp at the sight of a condom). Here and there texts come to graft themselves onto the surface of the film like parasites; in the manner of derailing directives, so at the height of pleasure, language comes back on track. But pleasure is never left far behind as bodies flaunt themselves, appearing on camera for pure pleasure, like in Cling Film, Stevie's Tattoos in Spring (1994), and Terra Vermin (1998), but also to a different extent in Mario Montage (1999), re-filmed from some sequences of Mario Montez. These films work on the question of sexuality but above all on the issue of desire and its portrayal. The Super 8 camera, the macro lens, becomes a caress, it lingers over the body, tattoos, the grain of skin, fine hairs…

The work in sound, as much as the work in image, belongs more than anything, to the notion of collage, but it is not possible to speak of an aesthetic of found footage, first and foremost because the majority of the films are not "found", but also because in the manner of certain diarists, Anna Thew re-cycles her own images and re-configures them not just depending on the project, but also dependent on their presentation.

This desire to propose a new configuration at each presentation is not unreminiscent of the work of the live performer for whom each concert or performance is not to be repeated. In this sense, Anna Thew again tends to elicit and draw on the expressiveness of the moment long after the object she has made use of, has evaporated. The work of film is then etched with nostalgia like a return journey home.