Jaunt

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.

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 post punk piece of pagan sensibility, complete with beastiality buggery and boundless energy. Maniacal filmmaking at its best. He takes his horse with him everywhere." Andrew Kötting

A walk through England’s south coast evokes the artists who lived and worked there.

From London to the far reaches of Scotland, the journey in the form of a quest for a whalebone box, related to its place of origin.

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

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.

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

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.

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.

Shot in Nunhead Cemetery, South East London with Heilco Van der Ploeug and Leila McMillan. Designed to run as a super 8 projection for the performances that we were making in and around London as BEING KARNAL. Music BEING KARNAL (Heilco Van der Ploeug and Andrew Kotting)

A sad tale that waxes lyrical, replete with the diabolical bastardisation of various Greek myths.

Part home-movie, part diary, evoking the disembodied voices of the hoi polloi, manifest as an animistic presence within the landscape.

"This film, like everything else nowadays, is magic. I don’t know where he originated from but he’s been sound in our family for years and years and years."

A site specific performance piece for camera, filmed on location at Beachy Head, a metaphor for our collective headlong rush over the edge when it comes to our dealings with the environment. But rather than a decisive leap off the cliff, the piece has a much slower, more erosive pace with Paris and Hill gradually sinking in a deep fissure near the cliff edge. Seemingly oblivious, they chat bravely on mixing the banal with specific personal fixations on environment. Time-lapse cinematography marks time passing, clouds and shadows moving as the women slowly descend into the earth. They are very positive, very upbeat, but their sinking is inevitable. They keep talking until they are no longer visible; the last sentence breathed out through a crack in the earth and carried off in the wind. Then they are gone without a trace, and the viewer is confronted with the precipice, which in their absence becomes the foreground rather than the background.