At BIFFes 2026, the acclaimed sound designer unpacks how culture, environment and acoustics shape not just films, but the way societies listen and communicate
Bengaluru, NFAPost: Cinema, at its most powerful, is not only about what we see—but about how we listen. This was the central theme of an engaging masterclass titled “Cinema as a Way of Listening” delivered by renowned sound designer Biswadeep Chatterjee at the 17th Bengaluru International Film Festival (BIFFes).
Addressing a packed audience of filmmakers, students and cinephiles, Chatterjee explored how culture, environment and acoustics shape cinematic sound—and, more fundamentally, influence how people hear, speak and interact in everyday life. Drawing from both film theory and lived experience, he argued that listening is a learned cultural practice, not a passive sensory act.
Sound as Cultural Behaviour
Known for his work in films such as 3 Idiots, Bajirao Mastani, Uri: The Surgical Strike and the recent Dhurandhar, Chatterjee spoke about how Indian listening habits are shaped by the country’s social and physical environment.
“Culturally, Indians tend to speak louder,” he observed. “This is not a flaw—it is a characteristic shaped by the physical and social environments we live in.”
He contrasted this with Western cities, where colder climates, quieter surroundings and thoughtful urban planning have created a very different relationship with sound.
“In many Western cities, silence is normal. Ambient noise levels are low, and architecture supports acoustic balance,” he explained. “Soft furnishings, wooden floors, carpets and treated walls absorb sound instead of reflecting it. As a result, people don’t need to raise their voices to be heard.”
The Missing Link: Acoustic Awareness
Chatterjee pointed out that a lack of awareness about acoustics is at the root of many communication and sound-related challenges—both in cinema and in public spaces.
“When buildings and spaces are designed with sound in mind, clarity and calm improve dramatically,” he said. “Acoustics is not a luxury; it is a necessity.”
He explained how people instinctively alter their voices in noisy environments, often without realising it.
“In chaos, people unconsciously change their voice to be heard,” he said. “But experienced speakers don’t shout—they adjust pitch and frequency. This allows clarity without strain.”
From Human Voice to Film Sound Design
This principle, Chatterjee noted, lies at the heart of cinematic sound design. Instead of amplifying everything, sound designers sculpt frequencies so that dialogue and key sounds cut through without overwhelming the listener.
“Sound designers carefully shape frequencies so background noise does not torture the audience,” he explained. “The goal is always the same—clarity without confusion.”
He described sound design as an empathetic process—one that requires deep understanding of how humans listen and how environments respond to sound.
“Whether it is filtering unwanted frequencies, softening harsh sounds or layering a soundtrack, the aim is to guide the listener gently,” he said. “Sound design is about understanding how humans hear and how spaces breathe.”
Cinema as a Teacher of Listening
Concluding the masterclass, Chatterjee offered a reflective insight that resonated strongly with the audience.
“At its best, cinema doesn’t just teach us how to see—it teaches us how to listen.”
During the session, he screened select clips from films he has worked on, demonstrating how sound establishes space, mood and emotional depth—often before a single word is spoken. The masterclass left participants with a renewed awareness of silence, noise and the invisible architecture of sound.
At BIFFes 2026, Chatterjee’s session stood out as a reminder that cinema’s most profound power often lies beyond the frame—shaping not just stories on screen, but the way we experience the world around us.
