30 days down, a hundred to go.
Film Number 34 – Exit through the Gift Shop
Where do you begin to talk about this documentary, billed as coming from the mind of the prolific street artist Banksy, Exit Through The Gift Shop is probably one of the most eye opening and difficult films I’ve ever tackled. The film starts out with an absorbing credit sequence showing graffiti at its worst; taggers running across walls doing simple lines or standing on top of a car mindlessly tagging a bridge, the actions build in their absurdity aided perfectly by Richard Hawley’s “Tonight The Streets are Ours,” it basically changes your perception about graffiti within the first three minutes. That is not to say it makes the act acceptable; it just shows another perspective and I think it’s a really important way to start off the film, throwing away the preconceived feeling that most people have towards the distructive act.
We then enter Bansky’s studio, dark and scattered with artwork, face covered and voice muffled to protect his anonymity. Bansky creates a very foreboding atmosphere telling us about Thierry Guetta and his seemingly normal manner the first time they met. We are introduced to Thierry, a Frenchman living in L.A. with his family. Thierry makes his money running a retro clothing store buying old clothes off people and jacking up the price reselling to L.A.’s hip, trendy and foolish; a shitty way to make money but Thierry is so quirky and charming that you can forgive. We also learn very quickly of Thierry’s obsession with filming, he films nearly everything in his life continuously. Thierry goes to visit his cousin in France, a street artist by the name of Invader – famous for sticking little mosaic titles of Space Invader characters all over the place. Thierry begins to follow different street artists around Europe filming his experiences and the artists at work, he instantly becoming caught up in the majesty of doing something wrong in the night. Thierry comes across as being very immature and naïve most of the time but this also gives him the freedom to not hold back in the interview stages of the film; he speaks so truthfully and passionately allowing cracks in his character and a flood of emotions to come through that people are rarely willing to share with the world on film. The unarticulated French man appears to be the first person to really convey the appeal and sensation that comes with being part of this art movement.
Thierry then becomes friends with L.A. based street artist Shepard Fairey who is famous for his Andre the Giant Obey sticker that has appeared nearly everywhere. Thierry just follows Shepard around without asking eventually realizing his calling to make a documentary on the ever growing street art movement. After chronicling countless artists Thierry remains frustrated that one high profile artist still evades him, the ever illusive Banksy. On a chance encounter Thierry finally meets the infamous man and the two strike up a strange friendship, Banksy tells of their first encounter and how even though appearing slightly bat shit crazy Thierry was still quite nice to be around. After Thierry has followed Banksy all around the world the secret artist finally asks the odd French man, about the documentary that he has been working on for so long, prompting a startling revelation that Thierry never watches what he records and had no intention of actually making a documentary. We see a room full of tapes showing his progression over the years from hi-8 to mini dv, boxes and boxes of unlabeled tapes all with years of a man’s life – a truly perplexing sight. Thierry’s monomania of recording real life experiences leads him to create a 90 minute amalgamation of shit, it’s a bunch of clips brutally pieced together in a migraine inducing tacky edit. Even though the result is a brutal piece of Final Cut hell, we get to see the passion at which Thierry attacks his projects as he turns his back garden shack into a master editing suite. When Thierry presents the film to Bansky, the mysterious artist tells him it is terrible and that he should go out and make some of his own street art.
Whilst Thierry throws himself into the project Bansky takes reigns of the film deciding to follow Thierry’s exploration into the field. Going under the new persona of MBW – or MR. Brain Wash, Thierry hires a giant staff of designers to carry out his ideas in true Warhol fashion. He puts his house up for a second mortgage and opens a giant studio creating thousands of imitations of the pop art pieces that he admires. Understanding the power of hype Mr. Brain Wash unveils his master plan an art show like his mentor Bansky to hopefully sell his pieces for astronomical prices. The PR machine goes into motion and the end result is maybe one of the best criticisms on the art world that has ever existed.
To truly try and decipher the many layers of this film would take an eternity and probably negate the point of the film; that is if there even is one. You have to admire everyone involved especially Thierry whose brutal honesty and charisma is the driving force, Banksy manages to create a perfect comedic tone throughout; constantly showing Thierry’s beautiful, scandalous master plan. Countless questions arise as to the meaning behind art, the meaning imposed on art and if all the meaning is meaningless. We get to see the public become transfixed by this new pop culture wannabe, treating him like royalty because they think that they are meant to, Thierry gets caught up in the limelight becoming like the famous figures he looks up to. Thierry’s naivety and willingness to show his story make his actions almost justified and inspirational; we’ve seen his flaws and his lack of talent but his drive to succeed is stronger than most. How can you look down on a professional if they never claim to be a professional? Mr Brain Wash isn’t a self loathing figure but he never claims to be great I think he knows he pulling the wool over the public’s eyes and I respect him all the more for doing it.
There has been a lot of speculation if the film is legit or not and I do admit that documentary’s with a strong narrative flow are rarely this coincidental or perfect but even if the events manufactured would that even matter? We don’t even know if we can commend Banksy with being responsible for the film or merely just being a glorified editor as Thierry’s footage comprises nearly the whole thing but in the great scheme of things these points just seem insignificant.
Probably one of the most eye opening films ever made, a bit like an F For Fake for the new millennium, it will receive it’s fair share of criticism but it should be viewed again and again. I can’t even truly articulate my thoughts and feelings on the film, you could probably write P.H.D. on the thing quite easily. Better minds than I could talk about it for days and days. One of the best experiences I’ve had at the cinema in a long time, hysterical, engaging, revealing and challenging.
9 out of 10
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