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This column has spent six years listening to what Australian cinema sounds like, and the answer keeps changing.

The best sound work in Australian film is designed to be invisible, which makes it the hardest craft to praise and the easiest to overlook.

The sound design recreates 1977 television so precisely that the horror arrives in the frequencies you forgot existed.

The house in Relic creaks, drips, and breathes on a frequency that sits just below the one you can name.