We make original African worlds — animation, speculative drama and children's storytelling — and we build the production system disciplined enough to carry them to a global audience.
On 14 September 2026 the first episode of The Mbengs arrives, and the trailer for The Children Of The Ore goes public alongside it. One studio, two audiences, one date.
The family adventure begins. Grandmother's grounds open, the sealed route unlocks, and Episode One goes live at midnight in Cameroon.
Until 14 September 2026 · 00:00 WAT
A rescue thriller whose heroes are forbidden to strike. The trailer goes public on the 14th. The pilot stays private, released one audience at a time to commissioners, financiers and festivals.
Eight × 50 minutes. Near-future Cameroon. English, French and Pidgin from a single shoot.
Three original properties at three different stages. Each one is owned outright, developed in-house, and made to sit beside anything on a global platform.
An ordinary family in a high-tech future discovers extraordinary powers rooted in ancestral heritage.
Limbe, Cameroon, 2057. Twelve episodes across four three-episode arcs, driven by a family engine rather than a fight: an external mission, one child's honest mistake, and a domestic scene that changes something. At its centre is a grandmother whose grief has hardened into control — and children who do not defeat her, they help her let go.
A rescue thriller whose heroes are not allowed to fight.
Across Limbe, Kumba and Buea people are going missing — not violently, which is what makes it so hard to prosecute and so hard to explain. They are found breathing, cared for, and unwilling to come back. Standing against the man selling that door are five young people who inherited a connection to the Ore and one binding rule: an Ore Child who deliberately injures a person severs their own inheritance. It removes the shortcut most genre shows reach for and replaces it with a harder question.
The answer becomes the show's action language. They extract, evade, contain, negotiate, cut power, open exits, and reach captives through the one thing their captor cannot counterfeit — a specific and imperfect memory of home.
Learn. Grow. Shine.
A joyful African story world for young children and the grown-ups guiding them, across animation, music, books and everyday learning. Built so a single episode does more than one job: it finds an audience, becomes something a family can own, and gives a partner a reason to join.
Silent N Productions is a small, independent house building original African story worlds — and the technology needed to bring them to an audience. We work between Limbe, Cameroon and Wokingham in the UK, close enough to the source of the stories to get them right, and close enough to the market to get them seen.
The practice is led by Mbeng Ngassa, a cinematographer and creative technologist. Two decades behind a camera sit underneath everything here: light, composition, spatial logic, and the emotional purpose of a frame. That is what keeps the work from looking like a demo.
We are not an AI studio. We are a production company that uses every useful tool on the table, and holds it to the same standard as a lens. A generative pipeline is only worth having if it can carry a character across twelve episodes without drifting — so we built one that can.
Everything on the slate is owned outright. We develop in-house, produce lean, and look for partners at the point where a world is ready to travel further than we can carry it alone.
The silent letter is still part of the word.
Generative filmmaking fails on consistency, not on imagery. Four disciplines keep a world coherent across scenes, episodes and months of production.
People, objects and places are locked to approved references before a single frame is generated.
Every location is mapped before production. This one habit saves more than any other: it prevents angle drift and the regeneration it costs.
Every frame answers a story or spatial question. If it answers neither, it does not get made.
Named takes and final-state discipline keep the edit authoritative, so late changes do not unravel earlier work.
More prompting is not the answer.
Whether you fund worlds, buy them, or simply want to watch them — start here.
Fund a single title or come in across the slate. We can show you the pipeline, the unit economics of an episode, and exactly what your money makes.
Start a conversation For buyers & distributorsLoglines, formats, episode counts, delivery timelines, decks and a reel. Tell us your window and we will send what is relevant, not everything.
Request materials For audiencesThe Mbengs world is open and Episode One arrives on the 14th. Enoid Village is publishing now. Watch, share, and follow the worlds as they grow.
Go to the worldsRelease dates, new worlds, and the occasional look inside the pipeline. No more than a few times a year, and never anything we would not want to receive ourselves.