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Theme in Focus: The sound<\/h2>\n
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![\"null\"](\"https:\/\/www.lecourt-clermont.org\/wp-content\/uploads\/2024\/11\/SON1.png\")
\n\tSON 1<\/h2>\n\t\n\t\t<\/div>\n\t<\/div><\/a>\n<\/div>\n\n\t![\"null\"](\"https:\/\/www.lecourt-clermont.org\/wp-content\/uploads\/2024\/11\/SON3.png\")
\n\tSON 3<\/h2>\n\t\n\t\t<\/div>\n\t<\/div><\/a>\n<\/div>[\/vc_column_inner][vc_column_inner width=”1\/2″]\n\n\t![\"null\"](\"https:\/\/www.lecourt-clermont.org\/wp-content\/uploads\/2024\/11\/SON2.png\")
\n\tSON 2<\/h2>\n\t\n\t\t<\/div>\n\t<\/div><\/a>\n<\/div>\n\n\t![\"null\"](\"https:\/\/www.lecourt-clermont.org\/wp-content\/uploads\/2024\/11\/SON4.png\")
\n\tSON 4<\/h2>\n\t\n\t\t<\/div>\n\t<\/div><\/a>\n<\/div>[\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner]<\/div>[\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″]<\/div><\/div><\/div>0<\/div>Films made between 2004 and 2023<\/div><\/div><\/div><\/div><\/div><\/div>0<\/div>countries represented<\/div><\/div><\/div><\/div><\/div><\/div>0<\/div>documentaries<\/div><\/div><\/div>[\/vc_column_inner][vc_column_inner width=”1\/2″]<\/div><\/div><\/div>0<\/div>new films at the festival<\/div><\/div><\/div><\/div><\/div><\/div>0<\/div>live action films
\n(and 3 animations)<\/div><\/div><\/div>[\/vc_column_inner][\/vc_row_inner]<\/div>[vc_separator border_width=”2″ css=””][vc_column_text css=””]<\/p>\nNon-Panorama programmes related to sound in film<\/h4>\n
[\/vc_column_text]\n
\n\t![\"null\"](\"https:\/\/www.lecourt-clermont.org\/wp-content\/uploads\/2024\/12\/Picto-Blood-rectangle.png\")
\n\tBloody night<\/h2>\n\t\n\t\t<\/div>\n\t<\/div>\n<\/div>[vc_column_text css=””]<\/p>\n\n\n\n\n\n\nDesigned specifically in the spirit of the themed retrospective, this BLOOD program aims to give you a thrill with a host of sound effects across 8 films: eerie music, creepy ASMR, fatal compositions, gnashing of teeth or shrill screams, get ready to take a sound bath!<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[\/vc_column_text]\n
\n\t![\"null\"](\"https:\/\/www.lecourt-clermont.org\/wp-content\/uploads\/2024\/12\/Picto-ost-rectangle.png\")
\n\tOST Challenge finale<\/h2>\n\t\n\t\t<\/div>\n\t<\/div>\n<\/div>[vc_column_text css=””]<\/p>\nAs part of the Festival’s official program, the Original Soundtrack Challenge is an international competition open to composers of all ages and nationalities, offering the opportunity to compete in four categories: feature film, animated film, experimental film and script-based music composition. Candidates may compete in one or more categories.<\/p>\n
The entries will be performed by the Orchestre National d’Auvergne, a 21-strong string orchestra conducted by Fabrice Pierre.<\/p>\n
[\/vc_column_text][vc_column_text css=”” el_class=”horaires”]One screening only: Thursday 6 February at 19:30
\nOp\u00e9ra-th\u00e9\u00e2tre
\n22 boulevard Desaix – Clermont-Ferrand
\n[Single ticket price: \u20ac6 (excluding Festival tickets)][\/vc_column_text][vc_btn title=”Book now” shape=”square” align=”center” css=”” button_block=”true” link=”url:https%3A%2F%2Fbilletterie-orchestreauvergne.mapado.com%2Fevent%2F346138-original-soundtrack-challenge|target:_blank” el_class=”bouton coul-3 petit”]
<\/div>[\/vc_column][vc_column width=”1\/2″]<\/div>[vc_column_text css=”.vc_custom_1733249333432{margin-bottom: 30px !important;}”]<\/p>\nThe Buzz<\/em><\/h2>\n[\/vc_column_text][vc_column_text css=”.vc_custom_1733249342037{margin-bottom: 30px !important;}”]<\/p>\n
Sound in film<\/h3>\n
[\/vc_column_text][vc_column_text css=””]Sound is flowing through Clermont: In 2025, cinema is getting ready to be heard. This retrospective invites you to rediscover cinema through the prism of sound, a universe in which each murmur becomes a vital actor of the plot.<\/p>\n
Though born silent, film has always been animated by sound. From its very beginnings, pioneers such as L\u00e9on Gaumont sought to synchronize images with sound. Dolby Atmos, DTS: X, Auro 3D\u2026 Today, even if sound only represents a small portion of production costs, it has become essential to the cinematic experience. As Alfred Hitchcock once said, \u201cSound is 50% of the image.\u201d This retrospective pays homage to the creators of these auditory universes, to the artists who capture and transform sounds in order to create a cinematic language.<\/p>\n
We invite you, through these four programs, to discover films in which each sound tells a story, where each vibration amplifies an emotion. Foley artists, boom operators, sound engineers and field recordists create atmospheres that surround the onscreen image, transforming sound into its own narrative component.[\/vc_column_text][vc_column_text css=””]<\/p>\n
Sound effects: behind the scenes<\/h4>\n
The world of cinema often starts in studios, with silence giving way to the magic of foley artists. In The Secret World of Foley<\/a><\/em> (England, 2014), like a magician revealing his tricks, we discover the behind-the-scenes world of sound effect creation. Foley artists recreate the sounds of a film set in a fishing village, where each step on the pebble beach, each and every movement is music of its own. This invisible but crucial work is a detailed art that feeds the illusion of reality.<\/p>\nThe process is even more riveting in\u00a0Hacked Circuit<\/em> (USA, 2014), in which a sequence shot portrays the sonic recreation of the final scene of Coppola\u2019s\u00a0The Conversation<\/em>\u00a0(USA, 1974). The sounds of the Californian street plunge us in a universe of surveillance and control, where tension rises with each sonic breath, making us witness to an omnipresent paranoia.[\/vc_column_text][vc_column_text css=””]<\/p>\nWhen sound awakens hidden emotions<\/h4>\n
Sound has the capacity to awaken hidden emotions and fears. On the Origin of Fear<\/a> (<\/i>Indonesia, 2016, Lab Competition 2017), is a striking example of this. Set in a suffocating atmosphere, a voice actor, isolated in a studio, lends his voice to characters with a violent past. While the director remains invisible, sounds and voices are charged with embodying terror, transforming the studio space into a haunted site where fear becomes tangible.<\/p>\nThis exploration of the invisible also resonates in La Peur, petit chasseur (Fear, Little Hunter)<\/em><\/a> (France, 2004, National Grand Prize 2005) of the late Laurent Achard. Here, sound becomes its own full-fledged character. In a nine-minute static shot, a house appears to be calm, but the surrounding sounds tell a whole different story, creating an invisible, almost palpable, tension. The film demonstrates the power of off-camera shooting, or how sound can conjure the invisible and allow a silent anguish to rise the surface.[\/vc_column_text][vc_column_text css=””]<\/p>\nA different way to hear the world<\/h4>\n
Sound can also reveal inner experiences, transforming our relationship to the world and to ourselves. Two powerful films adhere to this notion, Notes on Blindness<\/a><\/em> (England, 2016, Lab Competition 2014) and O Menino que Morava no Som<\/a>\u00a0(The Boy Who Lived In The Sound)<\/em> (Brazil, 2022).<\/p>\nNotes on Blindness<\/em>\u00a0<\/a>follows theologian John Hull, who has become blind, through a sonic journal that captures his experience of blindness. Every sound becomes an essential sensory landmark, replacing sight and creating a unique universe in which the absence of image reinforces the intensity of sounds. The viewer is invited to \u201csee\u201d with their ears, and to feel the invisible world with unprecedented intensity.<\/p>\nIn\u00a0O Menino que Morava no Som<\/a><\/em>\u00a0by Felipe Soares, we follow Timba, a deaf young man who comes from a Brazilian suburb. Isolated from the lack of contact with Brazilian Sign Language, Timba must navigate the frustration of being unable to communicate his desire for interaction. His situation is made worse by a society that isn\u2019t always accepting of deafness, with some families opting for cochlear implants. This film paints a sensitive portrait of the social and personal barriers that Timba faces, all while revealing the force and the complexity of the sonic universe in which he evolves. Between the silences and the amplified sounds of everyday life, we discover a world of emotions unsaid, where communication is just as much a struggle as it is a desire.<\/p>\nAnother film,\u00a0Di Shi San Ye<\/a><\/em>\u00a0(Thirteenth Night)<\/em> (China, 2023, Lab Competition 2024) by Rachel Xiaowen Song, explores the disturbing impact a mysterious telephone call has on the life of Xiaoxue, a grieving young woman. After receiving a phone call from her late fianc\u00e9, she finds herself confronted with paranormal forces that throw her existence into disarray. With its blend of psychological suspense and paranormal elements, the film plunges us into a deep sensory exploration, where sound and noise create an atmosphere of discomfort and uncertainty, reinforcing the feeling of loss and distortion of reality.[\/vc_column_text][vc_column_text css=””]<\/p>\nWhen sound changes our perception of daily life<\/h4>\n
In\u00a0En Cord\u00e9e<\/em>\u00a0<\/a>(France, 2016, Award for Best Original Score 2017), by Matthieu Vigneau, sound detaches itself from image, generating a subtle discordance. Through an out-of-sync voice-over on images of a hike, the film establishes a dissonance that disturbs our perception and creates a discrete but striking tension. Everyday life, though familiar, becomes strange, reminding us that sound has the power to change reality.<\/p>\nSome films push the limits even further, transforming sound into a full sensorial experience.\u00a0Plot Point<\/a>\u00a0<\/em>(Belgium, 2007, Lab Special Jury Prize 2008) by Nicolas Provost, for example, immerses us in the nighttime streets of New York, where life is amplified by desynchronized sounds and oppressing music. Times Square becomes a space that is fascinating and disturbing all at once, where sound distorts our perception of reality.<\/p>\nNature itself becomes an open-air orchestra in\u00a0Polyfonatura<\/em>\u00a0<\/a>(Norway, 2019) by Jon Vatne, where each natural sound becomes a note of a symphony, offering an immersive experience in which sonic art blends with the natural environment.[\/vc_column_text][vc_column_text css=””]With 26 films from 17 countries, this retrospective invites you to rediscover cinema through the prism of sound. These creators, often invisible, transform each murmur of everyday life into a work of auditory art, offering an experience in which sound is the unseen hero, and where your ears become the guides to an unparalleled cinematic journey.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column]<\/div>\n\n\t![\"null\"](\"https:\/\/www.lecourt-clermont.org\/wp-content\/uploads\/2024\/12\/Banniere-events-son.png\")
\n\tActivit\u00e9s et rencontres<\/h2>\n\t\n\t\t<\/div>\n\t<\/div><\/a>\n<\/div>
\n\tSON 3<\/h2>\n\t\n\t\t<\/div>\n\t<\/div><\/a>\n<\/div>[\/vc_column_inner][vc_column_inner width=”1\/2″]\n\n\t\n\tSON 2<\/h2>\n\t\n\t\t<\/div>\n\t<\/div><\/a>\n<\/div>\n\n\t\n\tSON 4<\/h2>\n\t\n\t\t<\/div>\n\t<\/div><\/a>\n<\/div>[\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner]<\/div>[\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″]<\/div><\/div><\/div>0<\/div>Films made between 2004 and 2023<\/div><\/div><\/div><\/div><\/div><\/div>0<\/div>countries represented<\/div><\/div><\/div><\/div><\/div><\/div>0<\/div>documentaries<\/div><\/div><\/div>[\/vc_column_inner][vc_column_inner width=”1\/2″]<\/div><\/div><\/div>0<\/div>new films at the festival<\/div><\/div><\/div><\/div><\/div><\/div>0<\/div>live action films
\n(and 3 animations)<\/div><\/div><\/div>[\/vc_column_inner][\/vc_row_inner]<\/div>[vc_separator border_width=”2″ css=””][vc_column_text css=””]<\/p>\nNon-Panorama programmes related to sound in film<\/h4>\n
[\/vc_column_text]\n
\n\t\n\tBloody night<\/h2>\n\t\n\t\t<\/div>\n\t<\/div>\n<\/div>[vc_column_text css=””]<\/p>\n\n\n\n\n\n\nDesigned specifically in the spirit of the themed retrospective, this BLOOD program aims to give you a thrill with a host of sound effects across 8 films: eerie music, creepy ASMR, fatal compositions, gnashing of teeth or shrill screams, get ready to take a sound bath!<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[\/vc_column_text]\n
\n\t\n\tOST Challenge finale<\/h2>\n\t\n\t\t<\/div>\n\t<\/div>\n<\/div>[vc_column_text css=””]<\/p>\nAs part of the Festival’s official program, the Original Soundtrack Challenge is an international competition open to composers of all ages and nationalities, offering the opportunity to compete in four categories: feature film, animated film, experimental film and script-based music composition. Candidates may compete in one or more categories.<\/p>\n
The entries will be performed by the Orchestre National d’Auvergne, a 21-strong string orchestra conducted by Fabrice Pierre.<\/p>\n
[\/vc_column_text][vc_column_text css=”” el_class=”horaires”]One screening only: Thursday 6 February at 19:30
\nOp\u00e9ra-th\u00e9\u00e2tre
\n22 boulevard Desaix – Clermont-Ferrand
\n[Single ticket price: \u20ac6 (excluding Festival tickets)][\/vc_column_text][vc_btn title=”Book now” shape=”square” align=”center” css=”” button_block=”true” link=”url:https%3A%2F%2Fbilletterie-orchestreauvergne.mapado.com%2Fevent%2F346138-original-soundtrack-challenge|target:_blank” el_class=”bouton coul-3 petit”]
<\/div>[\/vc_column][vc_column width=”1\/2″]<\/div>[vc_column_text css=”.vc_custom_1733249333432{margin-bottom: 30px !important;}”]<\/p>\nThe Buzz<\/em><\/h2>\n[\/vc_column_text][vc_column_text css=”.vc_custom_1733249342037{margin-bottom: 30px !important;}”]<\/p>\n
Sound in film<\/h3>\n
[\/vc_column_text][vc_column_text css=””]Sound is flowing through Clermont: In 2025, cinema is getting ready to be heard. This retrospective invites you to rediscover cinema through the prism of sound, a universe in which each murmur becomes a vital actor of the plot.<\/p>\n
Though born silent, film has always been animated by sound. From its very beginnings, pioneers such as L\u00e9on Gaumont sought to synchronize images with sound. Dolby Atmos, DTS: X, Auro 3D\u2026 Today, even if sound only represents a small portion of production costs, it has become essential to the cinematic experience. As Alfred Hitchcock once said, \u201cSound is 50% of the image.\u201d This retrospective pays homage to the creators of these auditory universes, to the artists who capture and transform sounds in order to create a cinematic language.<\/p>\n
We invite you, through these four programs, to discover films in which each sound tells a story, where each vibration amplifies an emotion. Foley artists, boom operators, sound engineers and field recordists create atmospheres that surround the onscreen image, transforming sound into its own narrative component.[\/vc_column_text][vc_column_text css=””]<\/p>\n
Sound effects: behind the scenes<\/h4>\n
The world of cinema often starts in studios, with silence giving way to the magic of foley artists. In The Secret World of Foley<\/a><\/em> (England, 2014), like a magician revealing his tricks, we discover the behind-the-scenes world of sound effect creation. Foley artists recreate the sounds of a film set in a fishing village, where each step on the pebble beach, each and every movement is music of its own. This invisible but crucial work is a detailed art that feeds the illusion of reality.<\/p>\nThe process is even more riveting in\u00a0Hacked Circuit<\/em> (USA, 2014), in which a sequence shot portrays the sonic recreation of the final scene of Coppola\u2019s\u00a0The Conversation<\/em>\u00a0(USA, 1974). The sounds of the Californian street plunge us in a universe of surveillance and control, where tension rises with each sonic breath, making us witness to an omnipresent paranoia.[\/vc_column_text][vc_column_text css=””]<\/p>\nWhen sound awakens hidden emotions<\/h4>\n
Sound has the capacity to awaken hidden emotions and fears. On the Origin of Fear<\/a> (<\/i>Indonesia, 2016, Lab Competition 2017), is a striking example of this. Set in a suffocating atmosphere, a voice actor, isolated in a studio, lends his voice to characters with a violent past. While the director remains invisible, sounds and voices are charged with embodying terror, transforming the studio space into a haunted site where fear becomes tangible.<\/p>\nThis exploration of the invisible also resonates in La Peur, petit chasseur (Fear, Little Hunter)<\/em><\/a> (France, 2004, National Grand Prize 2005) of the late Laurent Achard. Here, sound becomes its own full-fledged character. In a nine-minute static shot, a house appears to be calm, but the surrounding sounds tell a whole different story, creating an invisible, almost palpable, tension. The film demonstrates the power of off-camera shooting, or how sound can conjure the invisible and allow a silent anguish to rise the surface.[\/vc_column_text][vc_column_text css=””]<\/p>\nA different way to hear the world<\/h4>\n
Sound can also reveal inner experiences, transforming our relationship to the world and to ourselves. Two powerful films adhere to this notion, Notes on Blindness<\/a><\/em> (England, 2016, Lab Competition 2014) and O Menino que Morava no Som<\/a>\u00a0(The Boy Who Lived In The Sound)<\/em> (Brazil, 2022).<\/p>\nNotes on Blindness<\/em>\u00a0<\/a>follows theologian John Hull, who has become blind, through a sonic journal that captures his experience of blindness. Every sound becomes an essential sensory landmark, replacing sight and creating a unique universe in which the absence of image reinforces the intensity of sounds. The viewer is invited to \u201csee\u201d with their ears, and to feel the invisible world with unprecedented intensity.<\/p>\nIn\u00a0O Menino que Morava no Som<\/a><\/em>\u00a0by Felipe Soares, we follow Timba, a deaf young man who comes from a Brazilian suburb. Isolated from the lack of contact with Brazilian Sign Language, Timba must navigate the frustration of being unable to communicate his desire for interaction. His situation is made worse by a society that isn\u2019t always accepting of deafness, with some families opting for cochlear implants. This film paints a sensitive portrait of the social and personal barriers that Timba faces, all while revealing the force and the complexity of the sonic universe in which he evolves. Between the silences and the amplified sounds of everyday life, we discover a world of emotions unsaid, where communication is just as much a struggle as it is a desire.<\/p>\nAnother film,\u00a0Di Shi San Ye<\/a><\/em>\u00a0(Thirteenth Night)<\/em> (China, 2023, Lab Competition 2024) by Rachel Xiaowen Song, explores the disturbing impact a mysterious telephone call has on the life of Xiaoxue, a grieving young woman. After receiving a phone call from her late fianc\u00e9, she finds herself confronted with paranormal forces that throw her existence into disarray. With its blend of psychological suspense and paranormal elements, the film plunges us into a deep sensory exploration, where sound and noise create an atmosphere of discomfort and uncertainty, reinforcing the feeling of loss and distortion of reality.[\/vc_column_text][vc_column_text css=””]<\/p>\nWhen sound changes our perception of daily life<\/h4>\n
In\u00a0En Cord\u00e9e<\/em>\u00a0<\/a>(France, 2016, Award for Best Original Score 2017), by Matthieu Vigneau, sound detaches itself from image, generating a subtle discordance. Through an out-of-sync voice-over on images of a hike, the film establishes a dissonance that disturbs our perception and creates a discrete but striking tension. Everyday life, though familiar, becomes strange, reminding us that sound has the power to change reality.<\/p>\nSome films push the limits even further, transforming sound into a full sensorial experience.\u00a0Plot Point<\/a>\u00a0<\/em>(Belgium, 2007, Lab Special Jury Prize 2008) by Nicolas Provost, for example, immerses us in the nighttime streets of New York, where life is amplified by desynchronized sounds and oppressing music. Times Square becomes a space that is fascinating and disturbing all at once, where sound distorts our perception of reality.<\/p>\nNature itself becomes an open-air orchestra in\u00a0Polyfonatura<\/em>\u00a0<\/a>(Norway, 2019) by Jon Vatne, where each natural sound becomes a note of a symphony, offering an immersive experience in which sonic art blends with the natural environment.[\/vc_column_text][vc_column_text css=””]With 26 films from 17 countries, this retrospective invites you to rediscover cinema through the prism of sound. These creators, often invisible, transform each murmur of everyday life into a work of auditory art, offering an experience in which sound is the unseen hero, and where your ears become the guides to an unparalleled cinematic journey.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column]<\/div>\n\n\t\n\tActivit\u00e9s et rencontres<\/h2>\n\t\n\t\t<\/div>\n\t<\/div><\/a>\n<\/div>
\n\tSON 2<\/h2>\n\t\n\t\t<\/div>\n\t<\/div><\/a>\n<\/div>\n\n\t\n\tSON 4<\/h2>\n\t\n\t\t<\/div>\n\t<\/div><\/a>\n<\/div>[\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner]<\/div>[\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″]<\/div><\/div><\/div>0<\/div>Films made between 2004 and 2023<\/div><\/div><\/div><\/div><\/div><\/div>0<\/div>countries represented<\/div><\/div><\/div><\/div><\/div><\/div>0<\/div>documentaries<\/div><\/div><\/div>[\/vc_column_inner][vc_column_inner width=”1\/2″]<\/div><\/div><\/div>0<\/div>new films at the festival<\/div><\/div><\/div><\/div><\/div><\/div>0<\/div>live action films
\n(and 3 animations)<\/div><\/div><\/div>[\/vc_column_inner][\/vc_row_inner]<\/div>[vc_separator border_width=”2″ css=””][vc_column_text css=””]<\/p>\nNon-Panorama programmes related to sound in film<\/h4>\n
[\/vc_column_text]\n
\n\t\n\tBloody night<\/h2>\n\t\n\t\t<\/div>\n\t<\/div>\n<\/div>[vc_column_text css=””]<\/p>\n\n\n\n\n\n\nDesigned specifically in the spirit of the themed retrospective, this BLOOD program aims to give you a thrill with a host of sound effects across 8 films: eerie music, creepy ASMR, fatal compositions, gnashing of teeth or shrill screams, get ready to take a sound bath!<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[\/vc_column_text]\n
\n\t\n\tOST Challenge finale<\/h2>\n\t\n\t\t<\/div>\n\t<\/div>\n<\/div>[vc_column_text css=””]<\/p>\nAs part of the Festival’s official program, the Original Soundtrack Challenge is an international competition open to composers of all ages and nationalities, offering the opportunity to compete in four categories: feature film, animated film, experimental film and script-based music composition. Candidates may compete in one or more categories.<\/p>\n
The entries will be performed by the Orchestre National d’Auvergne, a 21-strong string orchestra conducted by Fabrice Pierre.<\/p>\n
[\/vc_column_text][vc_column_text css=”” el_class=”horaires”]One screening only: Thursday 6 February at 19:30
\nOp\u00e9ra-th\u00e9\u00e2tre
\n22 boulevard Desaix – Clermont-Ferrand
\n[Single ticket price: \u20ac6 (excluding Festival tickets)][\/vc_column_text][vc_btn title=”Book now” shape=”square” align=”center” css=”” button_block=”true” link=”url:https%3A%2F%2Fbilletterie-orchestreauvergne.mapado.com%2Fevent%2F346138-original-soundtrack-challenge|target:_blank” el_class=”bouton coul-3 petit”]
<\/div>[\/vc_column][vc_column width=”1\/2″]<\/div>[vc_column_text css=”.vc_custom_1733249333432{margin-bottom: 30px !important;}”]<\/p>\nThe Buzz<\/em><\/h2>\n[\/vc_column_text][vc_column_text css=”.vc_custom_1733249342037{margin-bottom: 30px !important;}”]<\/p>\n
Sound in film<\/h3>\n
[\/vc_column_text][vc_column_text css=””]Sound is flowing through Clermont: In 2025, cinema is getting ready to be heard. This retrospective invites you to rediscover cinema through the prism of sound, a universe in which each murmur becomes a vital actor of the plot.<\/p>\n
Though born silent, film has always been animated by sound. From its very beginnings, pioneers such as L\u00e9on Gaumont sought to synchronize images with sound. Dolby Atmos, DTS: X, Auro 3D\u2026 Today, even if sound only represents a small portion of production costs, it has become essential to the cinematic experience. As Alfred Hitchcock once said, \u201cSound is 50% of the image.\u201d This retrospective pays homage to the creators of these auditory universes, to the artists who capture and transform sounds in order to create a cinematic language.<\/p>\n
We invite you, through these four programs, to discover films in which each sound tells a story, where each vibration amplifies an emotion. Foley artists, boom operators, sound engineers and field recordists create atmospheres that surround the onscreen image, transforming sound into its own narrative component.[\/vc_column_text][vc_column_text css=””]<\/p>\n
Sound effects: behind the scenes<\/h4>\n
The world of cinema often starts in studios, with silence giving way to the magic of foley artists. In The Secret World of Foley<\/a><\/em> (England, 2014), like a magician revealing his tricks, we discover the behind-the-scenes world of sound effect creation. Foley artists recreate the sounds of a film set in a fishing village, where each step on the pebble beach, each and every movement is music of its own. This invisible but crucial work is a detailed art that feeds the illusion of reality.<\/p>\nThe process is even more riveting in\u00a0Hacked Circuit<\/em> (USA, 2014), in which a sequence shot portrays the sonic recreation of the final scene of Coppola\u2019s\u00a0The Conversation<\/em>\u00a0(USA, 1974). The sounds of the Californian street plunge us in a universe of surveillance and control, where tension rises with each sonic breath, making us witness to an omnipresent paranoia.[\/vc_column_text][vc_column_text css=””]<\/p>\nWhen sound awakens hidden emotions<\/h4>\n
Sound has the capacity to awaken hidden emotions and fears. On the Origin of Fear<\/a> (<\/i>Indonesia, 2016, Lab Competition 2017), is a striking example of this. Set in a suffocating atmosphere, a voice actor, isolated in a studio, lends his voice to characters with a violent past. While the director remains invisible, sounds and voices are charged with embodying terror, transforming the studio space into a haunted site where fear becomes tangible.<\/p>\nThis exploration of the invisible also resonates in La Peur, petit chasseur (Fear, Little Hunter)<\/em><\/a> (France, 2004, National Grand Prize 2005) of the late Laurent Achard. Here, sound becomes its own full-fledged character. In a nine-minute static shot, a house appears to be calm, but the surrounding sounds tell a whole different story, creating an invisible, almost palpable, tension. The film demonstrates the power of off-camera shooting, or how sound can conjure the invisible and allow a silent anguish to rise the surface.[\/vc_column_text][vc_column_text css=””]<\/p>\nA different way to hear the world<\/h4>\n
Sound can also reveal inner experiences, transforming our relationship to the world and to ourselves. Two powerful films adhere to this notion, Notes on Blindness<\/a><\/em> (England, 2016, Lab Competition 2014) and O Menino que Morava no Som<\/a>\u00a0(The Boy Who Lived In The Sound)<\/em> (Brazil, 2022).<\/p>\nNotes on Blindness<\/em>\u00a0<\/a>follows theologian John Hull, who has become blind, through a sonic journal that captures his experience of blindness. Every sound becomes an essential sensory landmark, replacing sight and creating a unique universe in which the absence of image reinforces the intensity of sounds. The viewer is invited to \u201csee\u201d with their ears, and to feel the invisible world with unprecedented intensity.<\/p>\nIn\u00a0O Menino que Morava no Som<\/a><\/em>\u00a0by Felipe Soares, we follow Timba, a deaf young man who comes from a Brazilian suburb. Isolated from the lack of contact with Brazilian Sign Language, Timba must navigate the frustration of being unable to communicate his desire for interaction. His situation is made worse by a society that isn\u2019t always accepting of deafness, with some families opting for cochlear implants. This film paints a sensitive portrait of the social and personal barriers that Timba faces, all while revealing the force and the complexity of the sonic universe in which he evolves. Between the silences and the amplified sounds of everyday life, we discover a world of emotions unsaid, where communication is just as much a struggle as it is a desire.<\/p>\nAnother film,\u00a0Di Shi San Ye<\/a><\/em>\u00a0(Thirteenth Night)<\/em> (China, 2023, Lab Competition 2024) by Rachel Xiaowen Song, explores the disturbing impact a mysterious telephone call has on the life of Xiaoxue, a grieving young woman. After receiving a phone call from her late fianc\u00e9, she finds herself confronted with paranormal forces that throw her existence into disarray. With its blend of psychological suspense and paranormal elements, the film plunges us into a deep sensory exploration, where sound and noise create an atmosphere of discomfort and uncertainty, reinforcing the feeling of loss and distortion of reality.[\/vc_column_text][vc_column_text css=””]<\/p>\nWhen sound changes our perception of daily life<\/h4>\n
In\u00a0En Cord\u00e9e<\/em>\u00a0<\/a>(France, 2016, Award for Best Original Score 2017), by Matthieu Vigneau, sound detaches itself from image, generating a subtle discordance. Through an out-of-sync voice-over on images of a hike, the film establishes a dissonance that disturbs our perception and creates a discrete but striking tension. Everyday life, though familiar, becomes strange, reminding us that sound has the power to change reality.<\/p>\nSome films push the limits even further, transforming sound into a full sensorial experience.\u00a0Plot Point<\/a>\u00a0<\/em>(Belgium, 2007, Lab Special Jury Prize 2008) by Nicolas Provost, for example, immerses us in the nighttime streets of New York, where life is amplified by desynchronized sounds and oppressing music. Times Square becomes a space that is fascinating and disturbing all at once, where sound distorts our perception of reality.<\/p>\nNature itself becomes an open-air orchestra in\u00a0Polyfonatura<\/em>\u00a0<\/a>(Norway, 2019) by Jon Vatne, where each natural sound becomes a note of a symphony, offering an immersive experience in which sonic art blends with the natural environment.[\/vc_column_text][vc_column_text css=””]With 26 films from 17 countries, this retrospective invites you to rediscover cinema through the prism of sound. These creators, often invisible, transform each murmur of everyday life into a work of auditory art, offering an experience in which sound is the unseen hero, and where your ears become the guides to an unparalleled cinematic journey.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column]<\/div>\n\n\t\n\tActivit\u00e9s et rencontres<\/h2>\n\t\n\t\t<\/div>\n\t<\/div><\/a>\n<\/div>
\n\tSON 4<\/h2>\n\t\n\t\t<\/div>\n\t<\/div><\/a>\n<\/div>[\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner]<\/div>[\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″]<\/div><\/div><\/div>0<\/div>Films made between 2004 and 2023<\/div><\/div><\/div><\/div><\/div><\/div>0<\/div>countries represented<\/div><\/div><\/div><\/div><\/div><\/div>0<\/div>documentaries<\/div><\/div><\/div>[\/vc_column_inner][vc_column_inner width=”1\/2″]<\/div><\/div><\/div>0<\/div>new films at the festival<\/div><\/div><\/div><\/div><\/div><\/div>0<\/div>live action films
\n(and 3 animations)<\/div><\/div><\/div>[\/vc_column_inner][\/vc_row_inner]<\/div>[vc_separator border_width=”2″ css=””][vc_column_text css=””]<\/p>\nNon-Panorama programmes related to sound in film<\/h4>\n
[\/vc_column_text]\n
\n\t\n\tBloody night<\/h2>\n\t\n\t\t<\/div>\n\t<\/div>\n<\/div>[vc_column_text css=””]<\/p>\n\n\n\n\n\n\nDesigned specifically in the spirit of the themed retrospective, this BLOOD program aims to give you a thrill with a host of sound effects across 8 films: eerie music, creepy ASMR, fatal compositions, gnashing of teeth or shrill screams, get ready to take a sound bath!<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[\/vc_column_text]\n
\n\t\n\tOST Challenge finale<\/h2>\n\t\n\t\t<\/div>\n\t<\/div>\n<\/div>[vc_column_text css=””]<\/p>\nAs part of the Festival’s official program, the Original Soundtrack Challenge is an international competition open to composers of all ages and nationalities, offering the opportunity to compete in four categories: feature film, animated film, experimental film and script-based music composition. Candidates may compete in one or more categories.<\/p>\n
The entries will be performed by the Orchestre National d’Auvergne, a 21-strong string orchestra conducted by Fabrice Pierre.<\/p>\n
[\/vc_column_text][vc_column_text css=”” el_class=”horaires”]One screening only: Thursday 6 February at 19:30
\nOp\u00e9ra-th\u00e9\u00e2tre
\n22 boulevard Desaix – Clermont-Ferrand
\n[Single ticket price: \u20ac6 (excluding Festival tickets)][\/vc_column_text][vc_btn title=”Book now” shape=”square” align=”center” css=”” button_block=”true” link=”url:https%3A%2F%2Fbilletterie-orchestreauvergne.mapado.com%2Fevent%2F346138-original-soundtrack-challenge|target:_blank” el_class=”bouton coul-3 petit”]
<\/div>[\/vc_column][vc_column width=”1\/2″]<\/div>[vc_column_text css=”.vc_custom_1733249333432{margin-bottom: 30px !important;}”]<\/p>\nThe Buzz<\/em><\/h2>\n[\/vc_column_text][vc_column_text css=”.vc_custom_1733249342037{margin-bottom: 30px !important;}”]<\/p>\n
Sound in film<\/h3>\n
[\/vc_column_text][vc_column_text css=””]Sound is flowing through Clermont: In 2025, cinema is getting ready to be heard. This retrospective invites you to rediscover cinema through the prism of sound, a universe in which each murmur becomes a vital actor of the plot.<\/p>\n
Though born silent, film has always been animated by sound. From its very beginnings, pioneers such as L\u00e9on Gaumont sought to synchronize images with sound. Dolby Atmos, DTS: X, Auro 3D\u2026 Today, even if sound only represents a small portion of production costs, it has become essential to the cinematic experience. As Alfred Hitchcock once said, \u201cSound is 50% of the image.\u201d This retrospective pays homage to the creators of these auditory universes, to the artists who capture and transform sounds in order to create a cinematic language.<\/p>\n
We invite you, through these four programs, to discover films in which each sound tells a story, where each vibration amplifies an emotion. Foley artists, boom operators, sound engineers and field recordists create atmospheres that surround the onscreen image, transforming sound into its own narrative component.[\/vc_column_text][vc_column_text css=””]<\/p>\n
Sound effects: behind the scenes<\/h4>\n
The world of cinema often starts in studios, with silence giving way to the magic of foley artists. In The Secret World of Foley<\/a><\/em> (England, 2014), like a magician revealing his tricks, we discover the behind-the-scenes world of sound effect creation. Foley artists recreate the sounds of a film set in a fishing village, where each step on the pebble beach, each and every movement is music of its own. This invisible but crucial work is a detailed art that feeds the illusion of reality.<\/p>\nThe process is even more riveting in\u00a0Hacked Circuit<\/em> (USA, 2014), in which a sequence shot portrays the sonic recreation of the final scene of Coppola\u2019s\u00a0The Conversation<\/em>\u00a0(USA, 1974). The sounds of the Californian street plunge us in a universe of surveillance and control, where tension rises with each sonic breath, making us witness to an omnipresent paranoia.[\/vc_column_text][vc_column_text css=””]<\/p>\nWhen sound awakens hidden emotions<\/h4>\n
Sound has the capacity to awaken hidden emotions and fears. On the Origin of Fear<\/a> (<\/i>Indonesia, 2016, Lab Competition 2017), is a striking example of this. Set in a suffocating atmosphere, a voice actor, isolated in a studio, lends his voice to characters with a violent past. While the director remains invisible, sounds and voices are charged with embodying terror, transforming the studio space into a haunted site where fear becomes tangible.<\/p>\nThis exploration of the invisible also resonates in La Peur, petit chasseur (Fear, Little Hunter)<\/em><\/a> (France, 2004, National Grand Prize 2005) of the late Laurent Achard. Here, sound becomes its own full-fledged character. In a nine-minute static shot, a house appears to be calm, but the surrounding sounds tell a whole different story, creating an invisible, almost palpable, tension. The film demonstrates the power of off-camera shooting, or how sound can conjure the invisible and allow a silent anguish to rise the surface.[\/vc_column_text][vc_column_text css=””]<\/p>\nA different way to hear the world<\/h4>\n
Sound can also reveal inner experiences, transforming our relationship to the world and to ourselves. Two powerful films adhere to this notion, Notes on Blindness<\/a><\/em> (England, 2016, Lab Competition 2014) and O Menino que Morava no Som<\/a>\u00a0(The Boy Who Lived In The Sound)<\/em> (Brazil, 2022).<\/p>\nNotes on Blindness<\/em>\u00a0<\/a>follows theologian John Hull, who has become blind, through a sonic journal that captures his experience of blindness. Every sound becomes an essential sensory landmark, replacing sight and creating a unique universe in which the absence of image reinforces the intensity of sounds. The viewer is invited to \u201csee\u201d with their ears, and to feel the invisible world with unprecedented intensity.<\/p>\nIn\u00a0O Menino que Morava no Som<\/a><\/em>\u00a0by Felipe Soares, we follow Timba, a deaf young man who comes from a Brazilian suburb. Isolated from the lack of contact with Brazilian Sign Language, Timba must navigate the frustration of being unable to communicate his desire for interaction. His situation is made worse by a society that isn\u2019t always accepting of deafness, with some families opting for cochlear implants. This film paints a sensitive portrait of the social and personal barriers that Timba faces, all while revealing the force and the complexity of the sonic universe in which he evolves. Between the silences and the amplified sounds of everyday life, we discover a world of emotions unsaid, where communication is just as much a struggle as it is a desire.<\/p>\nAnother film,\u00a0Di Shi San Ye<\/a><\/em>\u00a0(Thirteenth Night)<\/em> (China, 2023, Lab Competition 2024) by Rachel Xiaowen Song, explores the disturbing impact a mysterious telephone call has on the life of Xiaoxue, a grieving young woman. After receiving a phone call from her late fianc\u00e9, she finds herself confronted with paranormal forces that throw her existence into disarray. With its blend of psychological suspense and paranormal elements, the film plunges us into a deep sensory exploration, where sound and noise create an atmosphere of discomfort and uncertainty, reinforcing the feeling of loss and distortion of reality.[\/vc_column_text][vc_column_text css=””]<\/p>\nWhen sound changes our perception of daily life<\/h4>\n
In\u00a0En Cord\u00e9e<\/em>\u00a0<\/a>(France, 2016, Award for Best Original Score 2017), by Matthieu Vigneau, sound detaches itself from image, generating a subtle discordance. Through an out-of-sync voice-over on images of a hike, the film establishes a dissonance that disturbs our perception and creates a discrete but striking tension. Everyday life, though familiar, becomes strange, reminding us that sound has the power to change reality.<\/p>\nSome films push the limits even further, transforming sound into a full sensorial experience.\u00a0Plot Point<\/a>\u00a0<\/em>(Belgium, 2007, Lab Special Jury Prize 2008) by Nicolas Provost, for example, immerses us in the nighttime streets of New York, where life is amplified by desynchronized sounds and oppressing music. Times Square becomes a space that is fascinating and disturbing all at once, where sound distorts our perception of reality.<\/p>\nNature itself becomes an open-air orchestra in\u00a0Polyfonatura<\/em>\u00a0<\/a>(Norway, 2019) by Jon Vatne, where each natural sound becomes a note of a symphony, offering an immersive experience in which sonic art blends with the natural environment.[\/vc_column_text][vc_column_text css=””]With 26 films from 17 countries, this retrospective invites you to rediscover cinema through the prism of sound. These creators, often invisible, transform each murmur of everyday life into a work of auditory art, offering an experience in which sound is the unseen hero, and where your ears become the guides to an unparalleled cinematic journey.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column]<\/div>\n\n\t\n\tActivit\u00e9s et rencontres<\/h2>\n\t\n\t\t<\/div>\n\t<\/div><\/a>\n<\/div>
\n(and 3 animations)<\/div><\/div><\/div>[\/vc_column_inner][\/vc_row_inner]
Non-Panorama programmes related to sound in film<\/h4>\n
[\/vc_column_text]\n
\n\tBloody night<\/h2>\n\t\n\t\t<\/div>\n\t<\/div>\n<\/div>[vc_column_text css=””]<\/p>\n\n\n\n\n\n\nDesigned specifically in the spirit of the themed retrospective, this BLOOD program aims to give you a thrill with a host of sound effects across 8 films: eerie music, creepy ASMR, fatal compositions, gnashing of teeth or shrill screams, get ready to take a sound bath!<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[\/vc_column_text]\n
\n\t\n\tOST Challenge finale<\/h2>\n\t\n\t\t<\/div>\n\t<\/div>\n<\/div>[vc_column_text css=””]<\/p>\nAs part of the Festival’s official program, the Original Soundtrack Challenge is an international competition open to composers of all ages and nationalities, offering the opportunity to compete in four categories: feature film, animated film, experimental film and script-based music composition. Candidates may compete in one or more categories.<\/p>\n
The entries will be performed by the Orchestre National d’Auvergne, a 21-strong string orchestra conducted by Fabrice Pierre.<\/p>\n
[\/vc_column_text][vc_column_text css=”” el_class=”horaires”]One screening only: Thursday 6 February at 19:30
\nOp\u00e9ra-th\u00e9\u00e2tre
\n22 boulevard Desaix – Clermont-Ferrand
\n[Single ticket price: \u20ac6 (excluding Festival tickets)][\/vc_column_text][vc_btn title=”Book now” shape=”square” align=”center” css=”” button_block=”true” link=”url:https%3A%2F%2Fbilletterie-orchestreauvergne.mapado.com%2Fevent%2F346138-original-soundtrack-challenge|target:_blank” el_class=”bouton coul-3 petit”]
<\/div>[\/vc_column][vc_column width=”1\/2″]<\/div>[vc_column_text css=”.vc_custom_1733249333432{margin-bottom: 30px !important;}”]<\/p>\nThe Buzz<\/em><\/h2>\n[\/vc_column_text][vc_column_text css=”.vc_custom_1733249342037{margin-bottom: 30px !important;}”]<\/p>\n
Sound in film<\/h3>\n
[\/vc_column_text][vc_column_text css=””]Sound is flowing through Clermont: In 2025, cinema is getting ready to be heard. This retrospective invites you to rediscover cinema through the prism of sound, a universe in which each murmur becomes a vital actor of the plot.<\/p>\n
Though born silent, film has always been animated by sound. From its very beginnings, pioneers such as L\u00e9on Gaumont sought to synchronize images with sound. Dolby Atmos, DTS: X, Auro 3D\u2026 Today, even if sound only represents a small portion of production costs, it has become essential to the cinematic experience. As Alfred Hitchcock once said, \u201cSound is 50% of the image.\u201d This retrospective pays homage to the creators of these auditory universes, to the artists who capture and transform sounds in order to create a cinematic language.<\/p>\n
We invite you, through these four programs, to discover films in which each sound tells a story, where each vibration amplifies an emotion. Foley artists, boom operators, sound engineers and field recordists create atmospheres that surround the onscreen image, transforming sound into its own narrative component.[\/vc_column_text][vc_column_text css=””]<\/p>\n
Sound effects: behind the scenes<\/h4>\n
The world of cinema often starts in studios, with silence giving way to the magic of foley artists. In The Secret World of Foley<\/a><\/em> (England, 2014), like a magician revealing his tricks, we discover the behind-the-scenes world of sound effect creation. Foley artists recreate the sounds of a film set in a fishing village, where each step on the pebble beach, each and every movement is music of its own. This invisible but crucial work is a detailed art that feeds the illusion of reality.<\/p>\nThe process is even more riveting in\u00a0Hacked Circuit<\/em> (USA, 2014), in which a sequence shot portrays the sonic recreation of the final scene of Coppola\u2019s\u00a0The Conversation<\/em>\u00a0(USA, 1974). The sounds of the Californian street plunge us in a universe of surveillance and control, where tension rises with each sonic breath, making us witness to an omnipresent paranoia.[\/vc_column_text][vc_column_text css=””]<\/p>\nWhen sound awakens hidden emotions<\/h4>\n
Sound has the capacity to awaken hidden emotions and fears. On the Origin of Fear<\/a> (<\/i>Indonesia, 2016, Lab Competition 2017), is a striking example of this. Set in a suffocating atmosphere, a voice actor, isolated in a studio, lends his voice to characters with a violent past. While the director remains invisible, sounds and voices are charged with embodying terror, transforming the studio space into a haunted site where fear becomes tangible.<\/p>\nThis exploration of the invisible also resonates in La Peur, petit chasseur (Fear, Little Hunter)<\/em><\/a> (France, 2004, National Grand Prize 2005) of the late Laurent Achard. Here, sound becomes its own full-fledged character. In a nine-minute static shot, a house appears to be calm, but the surrounding sounds tell a whole different story, creating an invisible, almost palpable, tension. The film demonstrates the power of off-camera shooting, or how sound can conjure the invisible and allow a silent anguish to rise the surface.[\/vc_column_text][vc_column_text css=””]<\/p>\nA different way to hear the world<\/h4>\n
Sound can also reveal inner experiences, transforming our relationship to the world and to ourselves. Two powerful films adhere to this notion, Notes on Blindness<\/a><\/em> (England, 2016, Lab Competition 2014) and O Menino que Morava no Som<\/a>\u00a0(The Boy Who Lived In The Sound)<\/em> (Brazil, 2022).<\/p>\nNotes on Blindness<\/em>\u00a0<\/a>follows theologian John Hull, who has become blind, through a sonic journal that captures his experience of blindness. Every sound becomes an essential sensory landmark, replacing sight and creating a unique universe in which the absence of image reinforces the intensity of sounds. The viewer is invited to \u201csee\u201d with their ears, and to feel the invisible world with unprecedented intensity.<\/p>\nIn\u00a0O Menino que Morava no Som<\/a><\/em>\u00a0by Felipe Soares, we follow Timba, a deaf young man who comes from a Brazilian suburb. Isolated from the lack of contact with Brazilian Sign Language, Timba must navigate the frustration of being unable to communicate his desire for interaction. His situation is made worse by a society that isn\u2019t always accepting of deafness, with some families opting for cochlear implants. This film paints a sensitive portrait of the social and personal barriers that Timba faces, all while revealing the force and the complexity of the sonic universe in which he evolves. Between the silences and the amplified sounds of everyday life, we discover a world of emotions unsaid, where communication is just as much a struggle as it is a desire.<\/p>\nAnother film,\u00a0Di Shi San Ye<\/a><\/em>\u00a0(Thirteenth Night)<\/em> (China, 2023, Lab Competition 2024) by Rachel Xiaowen Song, explores the disturbing impact a mysterious telephone call has on the life of Xiaoxue, a grieving young woman. After receiving a phone call from her late fianc\u00e9, she finds herself confronted with paranormal forces that throw her existence into disarray. With its blend of psychological suspense and paranormal elements, the film plunges us into a deep sensory exploration, where sound and noise create an atmosphere of discomfort and uncertainty, reinforcing the feeling of loss and distortion of reality.[\/vc_column_text][vc_column_text css=””]<\/p>\nWhen sound changes our perception of daily life<\/h4>\n
In\u00a0En Cord\u00e9e<\/em>\u00a0<\/a>(France, 2016, Award for Best Original Score 2017), by Matthieu Vigneau, sound detaches itself from image, generating a subtle discordance. Through an out-of-sync voice-over on images of a hike, the film establishes a dissonance that disturbs our perception and creates a discrete but striking tension. Everyday life, though familiar, becomes strange, reminding us that sound has the power to change reality.<\/p>\nSome films push the limits even further, transforming sound into a full sensorial experience.\u00a0Plot Point<\/a>\u00a0<\/em>(Belgium, 2007, Lab Special Jury Prize 2008) by Nicolas Provost, for example, immerses us in the nighttime streets of New York, where life is amplified by desynchronized sounds and oppressing music. Times Square becomes a space that is fascinating and disturbing all at once, where sound distorts our perception of reality.<\/p>\nNature itself becomes an open-air orchestra in\u00a0Polyfonatura<\/em>\u00a0<\/a>(Norway, 2019) by Jon Vatne, where each natural sound becomes a note of a symphony, offering an immersive experience in which sonic art blends with the natural environment.[\/vc_column_text][vc_column_text css=””]With 26 films from 17 countries, this retrospective invites you to rediscover cinema through the prism of sound. These creators, often invisible, transform each murmur of everyday life into a work of auditory art, offering an experience in which sound is the unseen hero, and where your ears become the guides to an unparalleled cinematic journey.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column]<\/div>\n\n\t\n\tActivit\u00e9s et rencontres<\/h2>\n\t\n\t\t<\/div>\n\t<\/div><\/a>\n<\/div>
Designed specifically in the spirit of the themed retrospective, this BLOOD program aims to give you a thrill with a host of sound effects across 8 films: eerie music, creepy ASMR, fatal compositions, gnashing of teeth or shrill screams, get ready to take a sound bath!<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[\/vc_column_text]\n
\n\tOST Challenge finale<\/h2>\n\t\n\t\t<\/div>\n\t<\/div>\n<\/div>[vc_column_text css=””]<\/p>\nAs part of the Festival’s official program, the Original Soundtrack Challenge is an international competition open to composers of all ages and nationalities, offering the opportunity to compete in four categories: feature film, animated film, experimental film and script-based music composition. Candidates may compete in one or more categories.<\/p>\n
The entries will be performed by the Orchestre National d’Auvergne, a 21-strong string orchestra conducted by Fabrice Pierre.<\/p>\n
[\/vc_column_text][vc_column_text css=”” el_class=”horaires”]One screening only: Thursday 6 February at 19:30
\nOp\u00e9ra-th\u00e9\u00e2tre
\n22 boulevard Desaix – Clermont-Ferrand
\n[Single ticket price: \u20ac6 (excluding Festival tickets)][\/vc_column_text][vc_btn title=”Book now” shape=”square” align=”center” css=”” button_block=”true” link=”url:https%3A%2F%2Fbilletterie-orchestreauvergne.mapado.com%2Fevent%2F346138-original-soundtrack-challenge|target:_blank” el_class=”bouton coul-3 petit”]
<\/div>[\/vc_column][vc_column width=”1\/2″]<\/div>[vc_column_text css=”.vc_custom_1733249333432{margin-bottom: 30px !important;}”]<\/p>\nThe Buzz<\/em><\/h2>\n[\/vc_column_text][vc_column_text css=”.vc_custom_1733249342037{margin-bottom: 30px !important;}”]<\/p>\n
Sound in film<\/h3>\n
[\/vc_column_text][vc_column_text css=””]Sound is flowing through Clermont: In 2025, cinema is getting ready to be heard. This retrospective invites you to rediscover cinema through the prism of sound, a universe in which each murmur becomes a vital actor of the plot.<\/p>\n
Though born silent, film has always been animated by sound. From its very beginnings, pioneers such as L\u00e9on Gaumont sought to synchronize images with sound. Dolby Atmos, DTS: X, Auro 3D\u2026 Today, even if sound only represents a small portion of production costs, it has become essential to the cinematic experience. As Alfred Hitchcock once said, \u201cSound is 50% of the image.\u201d This retrospective pays homage to the creators of these auditory universes, to the artists who capture and transform sounds in order to create a cinematic language.<\/p>\n
We invite you, through these four programs, to discover films in which each sound tells a story, where each vibration amplifies an emotion. Foley artists, boom operators, sound engineers and field recordists create atmospheres that surround the onscreen image, transforming sound into its own narrative component.[\/vc_column_text][vc_column_text css=””]<\/p>\n
Sound effects: behind the scenes<\/h4>\n
The world of cinema often starts in studios, with silence giving way to the magic of foley artists. In The Secret World of Foley<\/a><\/em> (England, 2014), like a magician revealing his tricks, we discover the behind-the-scenes world of sound effect creation. Foley artists recreate the sounds of a film set in a fishing village, where each step on the pebble beach, each and every movement is music of its own. This invisible but crucial work is a detailed art that feeds the illusion of reality.<\/p>\nThe process is even more riveting in\u00a0Hacked Circuit<\/em> (USA, 2014), in which a sequence shot portrays the sonic recreation of the final scene of Coppola\u2019s\u00a0The Conversation<\/em>\u00a0(USA, 1974). The sounds of the Californian street plunge us in a universe of surveillance and control, where tension rises with each sonic breath, making us witness to an omnipresent paranoia.[\/vc_column_text][vc_column_text css=””]<\/p>\nWhen sound awakens hidden emotions<\/h4>\n
Sound has the capacity to awaken hidden emotions and fears. On the Origin of Fear<\/a> (<\/i>Indonesia, 2016, Lab Competition 2017), is a striking example of this. Set in a suffocating atmosphere, a voice actor, isolated in a studio, lends his voice to characters with a violent past. While the director remains invisible, sounds and voices are charged with embodying terror, transforming the studio space into a haunted site where fear becomes tangible.<\/p>\nThis exploration of the invisible also resonates in La Peur, petit chasseur (Fear, Little Hunter)<\/em><\/a> (France, 2004, National Grand Prize 2005) of the late Laurent Achard. Here, sound becomes its own full-fledged character. In a nine-minute static shot, a house appears to be calm, but the surrounding sounds tell a whole different story, creating an invisible, almost palpable, tension. The film demonstrates the power of off-camera shooting, or how sound can conjure the invisible and allow a silent anguish to rise the surface.[\/vc_column_text][vc_column_text css=””]<\/p>\nA different way to hear the world<\/h4>\n
Sound can also reveal inner experiences, transforming our relationship to the world and to ourselves. Two powerful films adhere to this notion, Notes on Blindness<\/a><\/em> (England, 2016, Lab Competition 2014) and O Menino que Morava no Som<\/a>\u00a0(The Boy Who Lived In The Sound)<\/em> (Brazil, 2022).<\/p>\nNotes on Blindness<\/em>\u00a0<\/a>follows theologian John Hull, who has become blind, through a sonic journal that captures his experience of blindness. Every sound becomes an essential sensory landmark, replacing sight and creating a unique universe in which the absence of image reinforces the intensity of sounds. The viewer is invited to \u201csee\u201d with their ears, and to feel the invisible world with unprecedented intensity.<\/p>\nIn\u00a0O Menino que Morava no Som<\/a><\/em>\u00a0by Felipe Soares, we follow Timba, a deaf young man who comes from a Brazilian suburb. Isolated from the lack of contact with Brazilian Sign Language, Timba must navigate the frustration of being unable to communicate his desire for interaction. His situation is made worse by a society that isn\u2019t always accepting of deafness, with some families opting for cochlear implants. This film paints a sensitive portrait of the social and personal barriers that Timba faces, all while revealing the force and the complexity of the sonic universe in which he evolves. Between the silences and the amplified sounds of everyday life, we discover a world of emotions unsaid, where communication is just as much a struggle as it is a desire.<\/p>\nAnother film,\u00a0Di Shi San Ye<\/a><\/em>\u00a0(Thirteenth Night)<\/em> (China, 2023, Lab Competition 2024) by Rachel Xiaowen Song, explores the disturbing impact a mysterious telephone call has on the life of Xiaoxue, a grieving young woman. After receiving a phone call from her late fianc\u00e9, she finds herself confronted with paranormal forces that throw her existence into disarray. With its blend of psychological suspense and paranormal elements, the film plunges us into a deep sensory exploration, where sound and noise create an atmosphere of discomfort and uncertainty, reinforcing the feeling of loss and distortion of reality.[\/vc_column_text][vc_column_text css=””]<\/p>\nWhen sound changes our perception of daily life<\/h4>\n
In\u00a0En Cord\u00e9e<\/em>\u00a0<\/a>(France, 2016, Award for Best Original Score 2017), by Matthieu Vigneau, sound detaches itself from image, generating a subtle discordance. Through an out-of-sync voice-over on images of a hike, the film establishes a dissonance that disturbs our perception and creates a discrete but striking tension. Everyday life, though familiar, becomes strange, reminding us that sound has the power to change reality.<\/p>\nSome films push the limits even further, transforming sound into a full sensorial experience.\u00a0Plot Point<\/a>\u00a0<\/em>(Belgium, 2007, Lab Special Jury Prize 2008) by Nicolas Provost, for example, immerses us in the nighttime streets of New York, where life is amplified by desynchronized sounds and oppressing music. Times Square becomes a space that is fascinating and disturbing all at once, where sound distorts our perception of reality.<\/p>\nNature itself becomes an open-air orchestra in\u00a0Polyfonatura<\/em>\u00a0<\/a>(Norway, 2019) by Jon Vatne, where each natural sound becomes a note of a symphony, offering an immersive experience in which sonic art blends with the natural environment.[\/vc_column_text][vc_column_text css=””]With 26 films from 17 countries, this retrospective invites you to rediscover cinema through the prism of sound. These creators, often invisible, transform each murmur of everyday life into a work of auditory art, offering an experience in which sound is the unseen hero, and where your ears become the guides to an unparalleled cinematic journey.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column]<\/div>\n\n\t\n\tActivit\u00e9s et rencontres<\/h2>\n\t\n\t\t<\/div>\n\t<\/div><\/a>\n<\/div>
As part of the Festival’s official program, the Original Soundtrack Challenge is an international competition open to composers of all ages and nationalities, offering the opportunity to compete in four categories: feature film, animated film, experimental film and script-based music composition. Candidates may compete in one or more categories.<\/p>\n
The entries will be performed by the Orchestre National d’Auvergne, a 21-strong string orchestra conducted by Fabrice Pierre.<\/p>\n
[\/vc_column_text][vc_column_text css=”” el_class=”horaires”]One screening only: Thursday 6 February at 19:30
\nOp\u00e9ra-th\u00e9\u00e2tre
\n22 boulevard Desaix – Clermont-Ferrand
\n[Single ticket price: \u20ac6 (excluding Festival tickets)][\/vc_column_text][vc_btn title=”Book now” shape=”square” align=”center” css=”” button_block=”true” link=”url:https%3A%2F%2Fbilletterie-orchestreauvergne.mapado.com%2Fevent%2F346138-original-soundtrack-challenge|target:_blank” el_class=”bouton coul-3 petit”]
The Buzz<\/em><\/h2>\n[\/vc_column_text][vc_column_text css=”.vc_custom_1733249342037{margin-bottom: 30px !important;}”]<\/p>\n
Sound in film<\/h3>\n
[\/vc_column_text][vc_column_text css=””]Sound is flowing through Clermont: In 2025, cinema is getting ready to be heard. This retrospective invites you to rediscover cinema through the prism of sound, a universe in which each murmur becomes a vital actor of the plot.<\/p>\n
Though born silent, film has always been animated by sound. From its very beginnings, pioneers such as L\u00e9on Gaumont sought to synchronize images with sound. Dolby Atmos, DTS: X, Auro 3D\u2026 Today, even if sound only represents a small portion of production costs, it has become essential to the cinematic experience. As Alfred Hitchcock once said, \u201cSound is 50% of the image.\u201d This retrospective pays homage to the creators of these auditory universes, to the artists who capture and transform sounds in order to create a cinematic language.<\/p>\n
We invite you, through these four programs, to discover films in which each sound tells a story, where each vibration amplifies an emotion. Foley artists, boom operators, sound engineers and field recordists create atmospheres that surround the onscreen image, transforming sound into its own narrative component.[\/vc_column_text][vc_column_text css=””]<\/p>\n
Sound effects: behind the scenes<\/h4>\n
The world of cinema often starts in studios, with silence giving way to the magic of foley artists. In The Secret World of Foley<\/a><\/em> (England, 2014), like a magician revealing his tricks, we discover the behind-the-scenes world of sound effect creation. Foley artists recreate the sounds of a film set in a fishing village, where each step on the pebble beach, each and every movement is music of its own. This invisible but crucial work is a detailed art that feeds the illusion of reality.<\/p>\nThe process is even more riveting in\u00a0Hacked Circuit<\/em> (USA, 2014), in which a sequence shot portrays the sonic recreation of the final scene of Coppola\u2019s\u00a0The Conversation<\/em>\u00a0(USA, 1974). The sounds of the Californian street plunge us in a universe of surveillance and control, where tension rises with each sonic breath, making us witness to an omnipresent paranoia.[\/vc_column_text][vc_column_text css=””]<\/p>\nWhen sound awakens hidden emotions<\/h4>\n
Sound has the capacity to awaken hidden emotions and fears. On the Origin of Fear<\/a> (<\/i>Indonesia, 2016, Lab Competition 2017), is a striking example of this. Set in a suffocating atmosphere, a voice actor, isolated in a studio, lends his voice to characters with a violent past. While the director remains invisible, sounds and voices are charged with embodying terror, transforming the studio space into a haunted site where fear becomes tangible.<\/p>\nThis exploration of the invisible also resonates in La Peur, petit chasseur (Fear, Little Hunter)<\/em><\/a> (France, 2004, National Grand Prize 2005) of the late Laurent Achard. Here, sound becomes its own full-fledged character. In a nine-minute static shot, a house appears to be calm, but the surrounding sounds tell a whole different story, creating an invisible, almost palpable, tension. The film demonstrates the power of off-camera shooting, or how sound can conjure the invisible and allow a silent anguish to rise the surface.[\/vc_column_text][vc_column_text css=””]<\/p>\nA different way to hear the world<\/h4>\n
Sound can also reveal inner experiences, transforming our relationship to the world and to ourselves. Two powerful films adhere to this notion, Notes on Blindness<\/a><\/em> (England, 2016, Lab Competition 2014) and O Menino que Morava no Som<\/a>\u00a0(The Boy Who Lived In The Sound)<\/em> (Brazil, 2022).<\/p>\nNotes on Blindness<\/em>\u00a0<\/a>follows theologian John Hull, who has become blind, through a sonic journal that captures his experience of blindness. Every sound becomes an essential sensory landmark, replacing sight and creating a unique universe in which the absence of image reinforces the intensity of sounds. The viewer is invited to \u201csee\u201d with their ears, and to feel the invisible world with unprecedented intensity.<\/p>\nIn\u00a0O Menino que Morava no Som<\/a><\/em>\u00a0by Felipe Soares, we follow Timba, a deaf young man who comes from a Brazilian suburb. Isolated from the lack of contact with Brazilian Sign Language, Timba must navigate the frustration of being unable to communicate his desire for interaction. His situation is made worse by a society that isn\u2019t always accepting of deafness, with some families opting for cochlear implants. This film paints a sensitive portrait of the social and personal barriers that Timba faces, all while revealing the force and the complexity of the sonic universe in which he evolves. Between the silences and the amplified sounds of everyday life, we discover a world of emotions unsaid, where communication is just as much a struggle as it is a desire.<\/p>\nAnother film,\u00a0Di Shi San Ye<\/a><\/em>\u00a0(Thirteenth Night)<\/em> (China, 2023, Lab Competition 2024) by Rachel Xiaowen Song, explores the disturbing impact a mysterious telephone call has on the life of Xiaoxue, a grieving young woman. After receiving a phone call from her late fianc\u00e9, she finds herself confronted with paranormal forces that throw her existence into disarray. With its blend of psychological suspense and paranormal elements, the film plunges us into a deep sensory exploration, where sound and noise create an atmosphere of discomfort and uncertainty, reinforcing the feeling of loss and distortion of reality.[\/vc_column_text][vc_column_text css=””]<\/p>\nWhen sound changes our perception of daily life<\/h4>\n
In\u00a0En Cord\u00e9e<\/em>\u00a0<\/a>(France, 2016, Award for Best Original Score 2017), by Matthieu Vigneau, sound detaches itself from image, generating a subtle discordance. Through an out-of-sync voice-over on images of a hike, the film establishes a dissonance that disturbs our perception and creates a discrete but striking tension. Everyday life, though familiar, becomes strange, reminding us that sound has the power to change reality.<\/p>\nSome films push the limits even further, transforming sound into a full sensorial experience.\u00a0Plot Point<\/a>\u00a0<\/em>(Belgium, 2007, Lab Special Jury Prize 2008) by Nicolas Provost, for example, immerses us in the nighttime streets of New York, where life is amplified by desynchronized sounds and oppressing music. Times Square becomes a space that is fascinating and disturbing all at once, where sound distorts our perception of reality.<\/p>\nNature itself becomes an open-air orchestra in\u00a0Polyfonatura<\/em>\u00a0<\/a>(Norway, 2019) by Jon Vatne, where each natural sound becomes a note of a symphony, offering an immersive experience in which sonic art blends with the natural environment.[\/vc_column_text][vc_column_text css=””]With 26 films from 17 countries, this retrospective invites you to rediscover cinema through the prism of sound. These creators, often invisible, transform each murmur of everyday life into a work of auditory art, offering an experience in which sound is the unseen hero, and where your ears become the guides to an unparalleled cinematic journey.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column]<\/div>\n\n\t\n\tActivit\u00e9s et rencontres<\/h2>\n\t\n\t\t<\/div>\n\t<\/div><\/a>\n<\/div>
The process is even more riveting in\u00a0Hacked Circuit<\/em> (USA, 2014), in which a sequence shot portrays the sonic recreation of the final scene of Coppola\u2019s\u00a0The Conversation<\/em>\u00a0(USA, 1974). The sounds of the Californian street plunge us in a universe of surveillance and control, where tension rises with each sonic breath, making us witness to an omnipresent paranoia.[\/vc_column_text][vc_column_text css=””]<\/p>\n Sound has the capacity to awaken hidden emotions and fears. On the Origin of Fear<\/a> (<\/i>Indonesia, 2016, Lab Competition 2017), is a striking example of this. Set in a suffocating atmosphere, a voice actor, isolated in a studio, lends his voice to characters with a violent past. While the director remains invisible, sounds and voices are charged with embodying terror, transforming the studio space into a haunted site where fear becomes tangible.<\/p>\n This exploration of the invisible also resonates in La Peur, petit chasseur (Fear, Little Hunter)<\/em><\/a> (France, 2004, National Grand Prize 2005) of the late Laurent Achard. Here, sound becomes its own full-fledged character. In a nine-minute static shot, a house appears to be calm, but the surrounding sounds tell a whole different story, creating an invisible, almost palpable, tension. The film demonstrates the power of off-camera shooting, or how sound can conjure the invisible and allow a silent anguish to rise the surface.[\/vc_column_text][vc_column_text css=””]<\/p>\n Sound can also reveal inner experiences, transforming our relationship to the world and to ourselves. Two powerful films adhere to this notion, Notes on Blindness<\/a><\/em> (England, 2016, Lab Competition 2014) and O Menino que Morava no Som<\/a>\u00a0(The Boy Who Lived In The Sound)<\/em> (Brazil, 2022).<\/p>\n Notes on Blindness<\/em>\u00a0<\/a>follows theologian John Hull, who has become blind, through a sonic journal that captures his experience of blindness. Every sound becomes an essential sensory landmark, replacing sight and creating a unique universe in which the absence of image reinforces the intensity of sounds. The viewer is invited to \u201csee\u201d with their ears, and to feel the invisible world with unprecedented intensity.<\/p>\n In\u00a0O Menino que Morava no Som<\/a><\/em>\u00a0by Felipe Soares, we follow Timba, a deaf young man who comes from a Brazilian suburb. Isolated from the lack of contact with Brazilian Sign Language, Timba must navigate the frustration of being unable to communicate his desire for interaction. His situation is made worse by a society that isn\u2019t always accepting of deafness, with some families opting for cochlear implants. This film paints a sensitive portrait of the social and personal barriers that Timba faces, all while revealing the force and the complexity of the sonic universe in which he evolves. Between the silences and the amplified sounds of everyday life, we discover a world of emotions unsaid, where communication is just as much a struggle as it is a desire.<\/p>\n Another film,\u00a0Di Shi San Ye<\/a><\/em>\u00a0(Thirteenth Night)<\/em> (China, 2023, Lab Competition 2024) by Rachel Xiaowen Song, explores the disturbing impact a mysterious telephone call has on the life of Xiaoxue, a grieving young woman. After receiving a phone call from her late fianc\u00e9, she finds herself confronted with paranormal forces that throw her existence into disarray. With its blend of psychological suspense and paranormal elements, the film plunges us into a deep sensory exploration, where sound and noise create an atmosphere of discomfort and uncertainty, reinforcing the feeling of loss and distortion of reality.[\/vc_column_text][vc_column_text css=””]<\/p>\n In\u00a0En Cord\u00e9e<\/em>\u00a0<\/a>(France, 2016, Award for Best Original Score 2017), by Matthieu Vigneau, sound detaches itself from image, generating a subtle discordance. Through an out-of-sync voice-over on images of a hike, the film establishes a dissonance that disturbs our perception and creates a discrete but striking tension. Everyday life, though familiar, becomes strange, reminding us that sound has the power to change reality.<\/p>\n Some films push the limits even further, transforming sound into a full sensorial experience.\u00a0Plot Point<\/a>\u00a0<\/em>(Belgium, 2007, Lab Special Jury Prize 2008) by Nicolas Provost, for example, immerses us in the nighttime streets of New York, where life is amplified by desynchronized sounds and oppressing music. Times Square becomes a space that is fascinating and disturbing all at once, where sound distorts our perception of reality.<\/p>\n Nature itself becomes an open-air orchestra in\u00a0Polyfonatura<\/em>\u00a0<\/a>(Norway, 2019) by Jon Vatne, where each natural sound becomes a note of a symphony, offering an immersive experience in which sonic art blends with the natural environment.[\/vc_column_text][vc_column_text css=””]With 26 films from 17 countries, this retrospective invites you to rediscover cinema through the prism of sound. These creators, often invisible, transform each murmur of everyday life into a work of auditory art, offering an experience in which sound is the unseen hero, and where your ears become the guides to an unparalleled cinematic journey.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column]When sound awakens hidden emotions<\/h4>\n
A different way to hear the world<\/h4>\n
When sound changes our perception of daily life<\/h4>\n
\n\tActivit\u00e9s et rencontres<\/h2>\n\t