Andrew Kötting

The last day of creation. A stranger arrives in London. No one knows who he is or where he has come from. By the time he leaves, the entire universe will have been erased.

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.

Andrew Kötting's film retraces John Clare's journey from Epping Forest to Northamptonshire accompanied by a straw bear.

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.

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

Taking as its departure point the 1993 opening of the Channel Tunnel, Là Bas is a playful burlesque on cultural difference, eccentricity and passion. Using different locations, Kötting knits together an imaginary tunnel, with tickets sold like a seaside attraction, through which one walks between England and France (the interior shots of the tunnel are of the Greenwich foot tunnel), and which is subject to random and sudden closure like many other British forms of transport.

IVUL is the extraordinary story of Alex (Jacob Auzanneau), a young man who climbs on to the roof of his house and refuses to ever come back down to earth. His actions devastate his beloved family and we watch as their world falls apart. A dark and mysterious gardener (Tchili from This Filthy Earth) keeps watch over the family but is powerless to exorcise the curse that he feels has befallen them. Meanwhile the twin sisters (Manon and Capucine) provide light but sometimes macabre relief. The world of IVUL is a world of both fairytale and nightmare with the family manor house and forest landscape providing a compelling backdrop to the story.

A documentary examining the causes and effects of Joubert syndrome – a rare hereditary brain disorder, which affects both the motor and intellectual development of its sufferers.

Iain Sinclair walks a section of Watling Street, the Roman road said to have much older origins, from Canterbury to London.

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 few drops of pond water rich in bottom sediments, seen under a microscope can quickly confirm the existence of another world. This is the Kingdom of Protista and like all living things it needs to try to suck itself off.’

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

An adaptation of Hattie Naylor's play, Ivan and the Dogs, which follows the true story of Ivan Mishukov, who walked out of his Moscow apartment at the age of four and spent two years living on the city streets where he was adopted by a pack of wild dogs.

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

A deliciously eccentric, yet touching portrait of director Andrew Kotting's daughter Eden as a young woman in their tumbledown Pyrennean 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 Kotting's sound archive to explore notions of nostalgia, memory and place.

Beginning in the pitch-black early hours of a September morning, the film follows a 14hr 17min cross-channel relay swim that I made along with my brothers Mark and Joey, a friend Ian Dale, the actor and comedian Sean Lock (Smart Alek and co-writer of This Filthy Earth) and the actor Tchili (This Filthy Earth and Ivul). The attempt was witnessed by the writer and wordsmith Iain Sinclair and is narrated by Eden Kötting. The film came about in 2006 (the 10 year anniversary since the release of the original film Gallivant) and the chance discovery of a boat called The Gallivant, which offered to shadow us across the Channel as a support vessel. Flotsam and jetsam in the form of conversations, field recordings and the voices of Gladys and Eden from the original film invade. The film shows scenes of explicit vomiting.

Eden Kötting draws bright images on transparent glass, while talking with her dad about the world and the people who run it.

Ken Nordine’s jazz spoken-word soundtrack was the inspiration for this work and a collection of body parts that Andrew Kötting had accumulated over the years of friends and family on super 8. "The true colour that flesh should be is the colour that flesh is".

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

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