The world’s first feature-length mobile phone art film.
A story about a future world where the dream of living in utopia can only be sustained by a nomadic tribe of artists and intellectuals, Mark Amerika’s Immobilité mashes up the language of “foreign films” with landscape painting and literary metafiction. The work was composed using an unscripted, improvisational method of acting and the mobile phone images are intentionally shot in an amateurish or DIY [do-it-yourself] style similar to the evolving forms of video distributed in social media environments such as YouTube. By interfacing this low-tech version of video making with more sophisticated forms of European art-house movies, Amerika both asks and answers the question “What is the future of cinema?”
Amerika describes Immobilité as “a feature-length foreign film shot entirely on a mobile phone in Cornwall, UK.” The work includes an original soundtrack by renowned sound artist Chad Mossholder and introduces Camille Lacadee and Magda Tyzlik-Carver as on-screen personas that drift in and out of the film’s otherworldly landscapes and ghostly narrative sequences.
The story of Immobilité is driven primarily by the innovative use of subtitles as an alternative literary track that situates the work in the rich history of experimental art-house cinema. Bringing to mind the deep philosophical cinema of European auteurs Ingmar Bergman and Michelangelo Antonioni, Amerika mashes up the language of “foreign films” with landscape painting and literary metafiction to reveal a future world where the dream of living in utopia can only be sustained by a nomadic tribe of artists and intellectuals. Tapping into the contemporary angst that fills our own contemporary lives, Immobilité investigates the innate desire of living organisms to release their creative energies as part of a collective strategy of cultural renewal.