Another eccentric, strange yet weirdly engaging journey along the leyline of Englishness by experimental film-maker Andrew Kötting, flying under the radar of conventional history and conventional production values. This zero-to-no-budget piece is something like a filmed moment of street theatre or Pythonesque subversion of the English past. It is a kind of occult dress-up pilgrimage, tracing in reverse an imaginary journey between Waltham Abbey and Hastings, conceptually reuniting King Harold with Edith Swan-Neck, his secular or “hand-fast” wife, who identified his body after the Battle of Hastings and secured him a Christian burial at Waltham Abbey. Kötting and his company make their journey in costume, pausing to consider and contemplate along the way, with ruminative contributions from Iain Sinclair and Alan Moore, who discuss the mythic relativeness of Edith’s identity and the psychogeographical implications of everything else. Moore comments gnomically: “You can always tell an authentic battlefield.” Well, only a pedant or a bore would insist on leading Mr Moore blindfold to three or four fields to test the truth of that. Like everything else in this piece, it has its own wayward integrity. - Guardian