The Lobster
In a near-future society, single people are checked into a hotel and given forty-five days to find a partner or be transformed into an animal of their choice.
The rules of the Hotel are audible before they are spoken. We built a world in which the social architecture — bureaucracy, surveillance, forced intimacy — leaks from the plumbing, the PA, the corridor carpet. The regime is first a room tone.
Tannoy distant. Vacuum. A door closed with policy.
Cutlery in unison. A clock with an unusually slow tick.
Leaves, wind, a radio played at half-volume against regulation.
Indoor amplifiers. A couple's laughter calibrated to code.
The film is built from these components. Each stem below is a narrative thread — the work is in how they are woven, and where they are withheld.
The Hotel is tuned to a constant, low-grade institutional hum — ventilation, fluorescence, a PA always one announcement away. The regime is a frequency, and the characters are tested against it.
- — Institutional hum
- — PA latency
- — Regulatory room tone
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