Exit Through the Gift Shop is, at first glance, an independent film, directed by notorious graffiti artist Banksy, with narration by welsh actor Rhys Ifans. However, the characters revealed within are larger than life,acting almost as if they are portraying a caricature of themselves to the unsuspecting subjects of the documentary. Throughout the course of the film, French “documentarian” and initial director (more on that later) Thierry Guetta both wields and faces the sense of his camera, an odd-position for the self-proclaimed director, driven by “the need to film the people around him”. This mustachioed Rob Schneider lookalike, described by Banksy as “sweaty, and looking like he came out of the 1860s”, set out with camera in hand, and never looked back. Those around Thierry, however, couldn’t keep their eyes off the increasingly unstable Frenchman.
The film itself mostly takes place through the lens of Thierry’s video camera, the subject matter being everything around him. Thierry is struck, however, by his cousin, (known only as “Space Invader”, or sometimes simply just “Invader”), and his unique form of self-expression: mosaic graffiti. Invader took his name from the popular arcade game, and spends his time plastering whatever is within arm’s reach with mosaic replicas of the iconic aliens. Thierry is immediately enthralled and begins to not only document Invader’s work, but begins to seek out every graffiti artist he could record. Thierry had unwittingly stumbled onto one of the most popular art forms of the twenty-first century, and he was the only one with a real scoop. Through his lens we watch not only Invader and his mosaics, but also famed Los Angeles street artist Shepard Fairey, responsible for the now-commercialized line drawing of Andres the Giant, over a block text “OBEY”.
The introduction of Fairey is an interesting addition to Thierry’s footage, as Fairey teaches him the ins and outs of plastering, eventually jokingly referring to him as an accomplice. As one watches this film unfold, you are struck by how incredibly stylized and “acted” Thierry Guetta is, forcing you to wonder whether you are watching a documentary, or a mockumentary more akin to Borat. The footage shown throughout, however, immerses the viewer in Thierry’s world, revealing just how footage he has been shooting. The footage is clearly amateur quality, but the subjects are so real and human. The amount of legwork it would take to recreate some of these clips would be a herculean task, leaving you no option but to believe Thierry’s story. The real problem, however, isn’t believing Thierry, its understanding him.
Thierry reveals that he had no plans on compiling his footage. Like sticking your head in between two mirrors and seeing your own face stretch off into infinity, Thierry takes footage of his collection of hundreds upon hundreds of cassette tapes, all unused, and he completes the loop by adding that footage into his collection. The film is a bit confusing in that aspect, with both Banksy and Thierry taking credits for finally forcing a direction upon his film collection.
However,the film doesn’t particularly stress that what is shown is the truth. It doesn’t know if it wants to be a documentary or an art house flick. It is fast-moving, with an almost “culture shock” effect, throwing the viewer into the world of graffiti as if we had all been there from the beginning, and understand the motives and desires of the common graffiti artist. What it does drive home, however, is that these are artists. A graffiti artist is more than a vandal, and should be considered as much an artist as any painter or sculptor. Imagine, even, if a sculptor had to quietly chip away at his marble block, for fear of being fined for a petty crime. These urban Krylon combatants bring the art to you, and they do not paint portrait, landscape ,or still life. From Invader’s mosaics, to David Fairey’s OBEY, graffiti artists have utilized whichever piece of pop culture from whichever time they please, as it suits them. The pop culture aspect is almost as much a medium as their spray paint and their concrete canvas. The art is temporary, allowing it be eternally contemporary.
The message of the film is loud, but not so clear. It conveys the meaning and the intent of some of today’s contemporary urban artists, but does not impart any emotion, or specificity to their actions. The film is marketed as a documentary on Banksy, but could just as easily be focused on Theirry, and his eventual emergence as an artist himself. However, like Banksy’s street art, perhaps the point of the film isn’t what you’re staring at, but what you associate with the image. The artists and people depicted within the film are as real as you and I, but characters like Thierry, and Bansky himself, appear to be in on some joke that the viewer is never supposed to get.
I rate this film three and half stars out of 5. It meanders in an odd direction, not giving any inkling as to what will develop next. Some call that intrigue, I call it poor storyboarding. What it lacks in focus, however, it makes up for in brevity. The film moves quickly, leaving you breathless by the time it is finished.It is short, and to the point. The point, however, is up to you to interpret.Whether you view this as a documentary on Banksy, or on Thierry, you will walkaway from this film having been given a fresh view on the streets and buildings around you. Despite it’s odd flow, and interesting direction, the film is certainly worth a watch, and gives insight to graffiti culture while simultaneously showing the views that graffiti culture, and “culture”, are indistinguishable.
