The tale of a quest to return an artwork to the Outer Hebrides after 30 years is unexpectedly compelling
Reviewing Andrew Kötting’s Lek and the Dogs in this paper in 2018, I compared his work to “a steamy midden of ideas”, an earthy concoction into which we are invited to dig deep. His latest offering is more like a dream – or rather a conjunction of dreams, occupying that liminal space between waking and sleep where the land meets the sea, past meets present, and lo-fi home-made cinema brushes against something sublime. As with so many of Kötting’s films, the central conceit involves a journey – a quest apparently undertaken to restore the titular artefact to the place of its making in the Outer Hebrides, and thereby cure an amorphous “unwellness”. I have no idea how much of what is documented here is “true”; suffice to say that it all feels profoundly truthful.
Reviewing Andrew Kötting’s Lek and the Dogs in this paper in 2018, I compared his work to “a steamy midden of ideas”, an earthy concoction into which we are invited to dig deep. His latest offering is more like a dream – or rather a conjunction of dreams, occupying that liminal space between waking and sleep where the land meets the sea, past meets present, and lo-fi home-made cinema brushes against something sublime. As with so many of Kötting’s films, the central conceit involves a journey – a quest apparently undertaken to restore the titular artefact to the place of its making in the Outer Hebrides, and thereby cure an amorphous “unwellness”. I have no idea how much of what is documented here is “true”; suffice to say that it all feels profoundly truthful.
- 4/5/2020
- by Mark Kermode
- The Guardian - Film News
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