Each piece was edited from material that was from the SWANDOWN shoot and named Artefacts 1-5.

Each piece was edited from material that was from the SWANDOWN shoot and named Artefacts 1-5.

In the Wake of a Deadad is Kötting's powerful, often uncomfortable reflection on the recent death of his father. His Deadad.

In 1972 a family are on their way for a holiday in Essex. The parents argue and the son swears, making obscene gestures. So the father throws him out, drives on and crashes the car. The grandmother flags down a car with three men in it. Too late she recognises one as the man who shot a neighbour...

A collection of films from an eclectic array of contributors commissioned to raise funds for the Bristol independent cinema The Cube.

Director Andrew Kötting and writer Iain Sinclair sail a swan-shaped pedalo from Hastings to Hackney in London in the build-up to the 2012 Olympic Games.

The tragic story of two sisters whose lives are disrupted by two men. Amidst a landscape of rural hardship and a community consumed with superstition, events unfurl which threaten their sibling bond.

At the threshold of the last mystery you have looked into the eyes of your creature self and watched the sun come dripping a bucket full of gold.

Experimental film. A man holding a 'flag' with a horse on it runs round a rubbish tip (overhead shot) and round crop circles.

A new film by Andrew Kötting is always cause for celebration, and his deliciously eccentric latest is a touching portrait of his daughter, Eden, as a young woman in their tumbledown Pyrenean farmhouse. Last seen in Gallivant (1996) as a plucky kid touring the coastline of Britain with her Big Granny, Eden, now 23, is here shown painting still lifes and singing along to the radio as the seasons ebb and flow around her. Reminiscent of Stan Brakhage's Dog Star Man, this lo-fi marvel features music by Scanner's Robin Rimbaud and a range of voices from Kötting's sound archive to explore notions of nostalgia, memory and place. and from "cinevue": The latest release to come from the BFI's very own DVD label, Andrew Kötting's This Our Still Life (2011) is a deeply personal, lo-fi collage of the director's secluded Pyrenean farmhouse (named simply 'Louyre'), where he lives with his wife Leila and daughter Eden. Eden was born with a rare neurological disease, and thus the farmhouse proves the perfect habitat for Kötting to care for and play with the 23-year-old, free from the hustle-and-bustle of London life. Kötting once again incorporates a number of signature stylistic techniques that run throughout his work (even as far back as 1996's Gallivant, where Eden made here first on-screen appearance). Film stocks are changed at will, with digital and Super 8 chopped together alongside a choice cuts from the director's extensive audio archive. The result is a fragmented, hypnotic slice of experimental cinema with just enough heart and universal appeal to warrant a wider release outside of the art installation clique. Both Louyre and Eden prove extremely watchable subjects, at times humorously documented by the camera-wielding Kötting. Eden's illness has clearly had severely damaging permanent effects on her speech and motor function, yet she is undoubtedly a content, creative, fun-loving twenty-something. Art classes and pop sing-alongs are the call of the day, with Eden’s parents keen to facilitate her every wish. Mirroring the affection between Kötting, his wife and daughter is a love for Louyre itself, a paradise of sorts where enjoyment, artistic fulfilment and learning are top of the agenda. For many, this is an unattainable pipe dream, but for Kötting the farmhouse becomes a magical, otherworldly space full or vibrancy, life and colour. This Our Still Life is a bewitching, hypnotic filmmaking experiment that thankfully works well. As a 20-year-plus portrait of Kötting's main loves - his daughter, his wife, Louyre and cinema - there is enough heart and emotional connection to entertain throughout, whilst concurrently offering up a number of deeper, existential readings for those willing to engage further

Gallivant is a 6,000-mile journey zig-zagging around the coast of Britain, which is both an experimental travelogue and an intensely personal story. Kötting begins the journey to bring Gladys, his 85-year old grandmother, and Eden, his 7-year old daughter, together. Gladys’s stamina is limited, and Eden has Joubert’s syndrome: she’s not expected to live to adulthood. Both are fragile, and the journey is an opportunity which may not be repeated.

Combining science fiction, fairytale and archive, this story of a lost boy carries reminiscences of Tarkovsky. Based on the play by Hattie Naylor, Lek leaves his parents for a life with dogs. An enfant sauvage, he grows into society with emotional connections and values at odds with the world, leading to conflict and confusion. Andrew Kötting’s account of this ultimate outsider uses an extended range of visual styles derived from avant garde and genre cinema, creating a visual meditation on what it means to be an alien. (BFI Player)

By Our Selves documents a four-day walk made by the English Poet John Clare. Toby Jones, Iain Sinclair and a Straw Bear follow in his footsteps exactly 150 years after his death. En route they bump into Macgillivray, Dr Simon Kovesi and the wizard Alan Moore. Meantime the journey is narrated by Toby’s father Freddie, a maverick actor who featured in numerous David Lynch films. John Clare’s escape from Epping Forest; an epic march through hunger and madness, is an English journey to set beside ‘A Pilgrim’s Progress’. Andrew Kötting, hyperkinetic camper-van captain of Gallivant, sets out in hot pursuit, dressed as a Straw Bear. Father and son, Freddie and Toby Jones, are possessed by the spirit of Clare, and locked in Beckettian embrace: one all-voice and one all-mute. The writer Iain Sinclair watches from the shadows, Alan Moore waits like a bearded figure of fate, in Northampton and Dr Simon Kovesi hands out the medicine. Captured in lustrous black and white photography, they discover the only truth of the road; whatever our hopes and delusions, we are always by ourselves. The film is inspired by Iain Sinclair’s Edge of the Orison and John Clare’s Journey out of Essex.