An art curator moves a painting he was told to leave alone, and the room stops letting him out.
A single-location psychological thriller with no spoken dialogue. There’s nothing to dub and nothing to subtitle, so every territory on earth can be sold at the same time, at no extra cost per market.
The whole set is up here. Turn it, open the doors, slide the rooms. Build from it, or quote against it.
shorts released
with no distributor
in the field
MADHOUSE
A single-location psychological thriller. One man, one room, and no spoken dialogue until the final line of the film.
There’s no dialogue and there’s one room. Nothing to dub, nothing to subtitle. And a set that only had to be solved once, drawn to the millimetre and built so it can be built again.
The room doesn’t stay still. Across the film it seals, it floods, it loses its ceiling, gravity stops agreeing with him, and it hands him objects belonging to somebody he never meets.
# — the state it’s in when he walks in
Ghost Frame
On-set software, written in-house because the tool we needed didn’t exist. Finished and working, owned outright by the company.
Live camera feeds stacked against reference plates. Difference and edge modes to catch framing drift between takes. Frame-accurate markers. Parallel recording across every camera with sub-frame offset, and per-layer sync control.
We built it because we needed it and nothing on the market did the job. It’s useful to anyone else doing the same kind of work, where a shot has to match a shot taken hours or days earlier, exactly, with nobody eyeballing it.
It’s finished and working, and we own it outright. Nobody licenses it to us and nobody can take it away.
Four lines of work, one operator, the same set of tools.
It all runs on the same cameras, the same software and the same pair of hands. That’s how a company this size carries all of it at once, and why the film work and the client work are the same business.
Live and IRL broadcast
Multi-camera live streaming for events, brands and rights holders. A chest-mounted mobile rig running front and rear cameras at once, alongside a desktop production setup, delivering with live on-screen audience interaction. Awards nights, listening parties, tournaments, on-location work in markets and schools.
Campaigns built on practical illusion
Campaign idea, and the stunt content that carries it. Then the streams and placements that distribute it. We have run exactly this for our own property, a running series of staged illusions released across TikTok, YouTube and Instagram, each one built to make people anticipate a film that doesn’t exist yet. It worked on us first. It’s available to you.
Visual effects and post
Handcrafted effects, compositing, clean-up and colour. Over a hundred effects and practical-illusion shorts produced and released, built one frame at a time rather than bought off a shelf.
Original film and original tools
Two properties, both developed in-house and owned outright. MADHOUSE, a feature in pre-production, the screenplay, the art, the set engineering and the build documentation all produced here. And GhostFrame, the on-set software we wrote because the tool didn’t exist. Neither would have happened without the other.
Music and sound
Original music and sound production, made in-house for our own work. MADHOUSE has no dialogue, so everything the audience hears has to be built, one theme, carried by a footstep, taken away and given back across the film.
Work that has already gone out.
Ọ̀tọ̀lórìn
Writer, director, producer.
Computer science by training. Effects, live production, photography and direction by practice. Five years of building the work first and finding the audience afterwards, over a hundred released pieces and thirty thousand people watching, without a distributor or a label.
Everything this company owns was paid for out of work. The screenplay, the production documentation, the engineering, the software and the physical properties of the film were all funded from earnings and reinvested trading. The one exception is a ₦2,600,000 award from the Office of the Vice President in 2024, which replaced the production computer.
The company is now building a permanent team of young Nigerian creatives around that body of work.
For production enquiries, campaign work, live broadcast, or anything to do with MADHOUSE. Proposals and full documentation available on request.