Claire André is manually recreating cinematic sounds for three productions scheduled to screen at the 2026 Cannes Film Festival [3].
This specialized craft, known as bruitage, remains essential for building immersive atmospheres and giving life to images through organic, human-led sound design.
André is a member of a closed circle of approximately 40 professional bruiteurs in France [1]. With more than 10 years of experience in the field [2], she specializes in creating soundscapes for films, series, and short films. Her recent work includes the productions “Dernier Printemps,” “Lucy Lost,” and “La Frappe” [3].
The profession relies on the ability to translate visual actions into auditory experiences using a variety of physical objects. This tradition is also upheld by other practitioners such as Didier Falk. Earlier this year, Falk shared the secrets of the trade during a demonstration at the Festival d’Épinal [4].
To achieve realistic results, bruiteurs often maintain vast collections of materials. Falk utilizes an auditorium containing thousands of different objects to generate specific noises [5]. These artists work to ensure that every movement on screen—from the rustle of clothing to complex environmental noises—feels authentic to the viewer.
The continued presence of these artists at major festivals like Cannes and Épinal highlights the enduring value of manual sound effects in an era of digital synthesis. By manipulating physical objects, these professionals create the nuanced textures that define the emotional tone of a scene.
“Claire André is a member of a closed circle of approximately 40 professional bruiteurs in France.”
The rarity of the profession—limited to only 40 practitioners in France—underscores a high barrier to entry and a specialized skill set that resists full automation. As cinema continues to evolve, the demand for organic, manually produced sound ensures that the bruiteur remains a critical, albeit invisible, component of high-end film production.
