Inmotep is a visual oddity, a film in which image and electronic music intertwine to form a surreal and labyrinthine story. Except for the film’s epilogue, the soundtrack does not include the voices of the characters.
Marc is a chauffeur in charge of picking up his clients at Madrid-Barajas Airport and taking them to their destination, with hardly any conversation between them. One of his clients, Abraham de Sousa, an employee of the real estate agency “Inmotep”, however, disappears, which spurs Marc to find out what has become of him. He looks for information about the company on the internet, but Google suggests this name to be an error and instead offers results relating to the famous Imhotep of ancient Egypt. If, until then, the name of the film itself allows the audience to deduce a nominal link between Inmotep and Imhotep, from this point the film introduces the Egyptian character explicitly in the development of the story.
First, we see that the name of the agency is a simple play on the name of the Egyptian builder and sage: Imhotep thus becomes Inmotep, taking “inmo” from “inmobiliaria” (“real estate agency” in English). In this way, Imhotep, the first known architect in history, builder of the pyramid of the pharaoh Djeser of the 3rd dynasty in Sakkara, is related, in this film, to a business linked to the sale and rental of houses and properties.
The information about Imhotep in the film defines him as an architect, but also as a doctor and probable author of the Edwyn Smith papyrus, a treatise on surgery in which the notion of the brain is defined for the first time in history. This then justifies the name of the WhatsApp group for the real estate workers, entitled “cerebrothers” (“brain-brothers” in English), as well as the appearance of a repertoire of tattoos taken from the internet that reproduce the Ancient Egyptian word ȝjs (“brain”).
Finally, the company's logo reproduces two triangular shapes with a circle above them, which undoubtedly represents two pyramids and the solar disc between them.

Author: Abraham I. Fernández Pichel