This film is a meditation on the Marlboro Man, a compilation of images and associations designed to deconstruct this image of masculinity and consumer addiction. Not only the Man himself, but the entire myth of the cowboy and the West are its targets.
The film veers from heavily-manipulated optical printer work to straight advertising footage from commercials and B-movies. Though there is no “history” (which is the basis for his subsequent films) the style that characterises all his work is firmly in place. The combination of social satire/deconstruction and recovered film images is used as a detournement – a Situationist attack against the oppression of corporate advertising.