It tells the story of Thierry Guetta, a French immigrant in Los Angeles who, over the course of several years, filmed a host of street artists at work, including Shepard Fairey and Banksy, but failed to do anything with the footage.

In addition to narration read by Rhys Ifans, the story is largely related by Banksy himself, whose face is obscured and voice altered to preserve his anonymity.

Geoff Barrow composed the film's score, and Richard Hawley's "Tonight The Streets Are Ours" plays during the opening and closing credits.

"[2] Thierry Guetta is a French immigrant living in Los Angeles, who runs a successful upscale vintage clothing shop and obsessively films his life.

Then, in the spring of 2006, Banksy's visit to LA is complicated when his usual accomplice is turned back at the border control, so he contacts Fairey, who recommends that Guetta would make a good guide.

Things go well, and Banksy invites Guetta to England to film the production and deployment of his "Murdered Phone Booth" piece, including the crowd reaction.

When Banksy is back in LA preparing for his "Barely Legal" show, he takes Guetta to Disneyland to film the reaction after he deploys an inflatable doll dressed like a Guantanamo Bay detainee there.

Over the next six months, Guetta turns his several thousand hours of footage into a film titled Life Remote Control: an unfocused 90 minutes of disorienting fast cutting.

He gets quotes from Fairey and Banksy, after which the LA Weekly does a cover story about the show, even though at that point he has yet to choose which of his team's works he wants to include.

The press leads private art collectors to call Guetta about buying pieces before the opening, and he quotes prices of tens of thousands of dollars.

On the day of the opening, the nearly 200 paintings finally arrive to be hung, but Guetta is busy giving interviews, so the crew decides where to put them.

[9] French journalist Marjolaine Gout gave the film 4 out of 5 stars, while linking Mr. Brainwash to Jeff Koons and criticizing Thierry Guetta's work as "artistic toilet papering".

[14] In an interview with SuicideGirls, producer Jaimie D'Cruz and editor Chris King denied the film was a hoax and expressed their growing frustration with speculation it was.

It was a bit disappointing when it became basically accepted as fact, that it was all just a silly hoax I felt it was a shame that the whole thing was going to be dismissed like that really – because we knew it was true."