The documentary details the 'Pulped Fiction' project by British visual artist David Shrigley, who has produced a limited run of 1,250 copies of George Orwell's dystopian novel 'Nineteen Eighty-Four' made entirely from the pulped remains of unwanted copies of 'The Da Vinci Code'.

'The Ambiguity of David Thomas Broughton' is a musical documentary following the creative process of one of the UK’s most enigmatic musicians and performers. As a musical act, David Thomas Broughton is almost unclassifiable. His live shows are a exhilarating mix of musical experimentation and performance art, underlined with a raw unpredictability. His recorded material is dark but beautiful, marrying traditional folk with a surrealist edge. Off-stage, he’s an introvert with a passion for bird watching. Who is the real David Thomas Broughton? Through a series of interviews with friends, family and collaborators, filmmaker Greg Butler attempts to unravel this ambiguity. His journey takes him to David’s home town of Otley, where we track David’s creative process as he records new material to be played at the End of the Road Festival.

Shrigley puts his personal spin on news stories and big events every day for a week by creating seven pieces of thought-provoking and entertaining artwork which offer an alternative, very personal interpretation on a topical news story. In the week-long public art project he expresses his idiosyncratic, wry humour in a variety of surprising media. Among his creations, there's been a cartoon on a building banner for Manchester about bullying, saying: "The bully has a brain the size of a pea"; a horde of people with sandwich boards about Tony Blair's current political issues which gathered outside the Guildhall in London, where the Prime Minister was making a speech; a giant mobile billboard parked at the Tory hustings in Leicester with the rallying cry "Legalise pottery"; and a giant wearing the slogan "Binge drinking is our heritage" visited bars in Nottingham.