Ian Tuason’s film, undertone, is a slowly unfolding mystery that builds to a truly terrifying experience. It’s not a movie you simply watch; it’s one you feel. The filmmakers understand that what you imagine is often scarier than anything shown on screen, and they expertly use unsettling imagery, slow zooms, and immersive sound to tap into your own fears. undertone provides just enough of a starting point – particularly through its use of silence and space – to let your imagination run wild, and the chilling effects will stay with you long after the film’s intense climax.
Undertone is a minimalist horror film with just two actors, relying heavily on sound design to create its scares. This works well because it encourages viewers to use their imaginations, making that a key part of the experience. Director Tuason deliberately leaves things to the audience’s interpretation – a lingering shot of an empty staircase or a demonic voice – prompting us to fill in the blanks and imagine what might be there. In essence, the film lets us co-create the terrifying scenarios that unfold in our minds.
The film begins with a haunting scene: Evy (Nina Kiri) tenderly cares for her mother (Michèle Duquet), who is unconscious, gently singing “Baa, Baa, Black Sheep” to her. The sound of Kiri’s voice blends with her mother’s labored breathing as the camera slowly explores the house, pausing on everyday objects in a way that creates a sense of unease. These lingering shots make you wonder about the potential importance of these items and how they might reappear later in the story.
To distract herself from her mother’s illness, Evy starts a podcast about the paranormal with her friend, Justin (Kris Holden-Ried). She plays the role of a skeptic, questioning the supposedly haunted recordings Justin provides. While it’s challenging for an actor to carry a film for most of its length, Kiri skillfully portrays Evy, our troubled narrator. She makes skepticism feel genuine and manages to keep the scenes of Evy listening to audio engaging. The podcast takes a darker turn when Justin shares ten recordings that eerily reflect events happening in Evy’s own life.
A24
The recordings are impossible to stop listening to, even though Evy knows they’re getting worse. The movie stays entirely within the confines of Evy’s house, and the director and production designer expertly turn everyday surroundings into something terrifying. Tuason is remarkably skilled at making even the most ordinary sounds – like a phone ringing or someone breathing – feel menacing and as if something is right behind you. It’s not surprising he’s been chosen to direct the next Paranormal Activity movie.
There’s a scene where Justin plays “Baa, Baa, Black Sheep” in reverse, claiming it contains a secret message. At first, it just sounds like nonsense to Evy and the audience. But then, Evy distinctly hears the phrase, “lick the blood off,” spoken in a deep, powerful voice that seems to fill the room. Later, when Evy is listening to the recording, the camera focuses on the fluctuating volume bars, which appear to move like the fingers of something trying to escape from the screen.
I’m completely captivated by Evy and her relationship with her mother, especially the way religion seems to weave through their lives. Their home is filled with religious symbols, and little hints about their church background just make me want to know more. Evy comes across as the rational one on the podcast, which suggests she’s moved away from her faith somehow, and that moment where she apologizes for not praying with her mom really struck me. The filmmaker, Tuason, brilliantly uses these details to build tension. It makes you wonder, how do you fight something terrifying when you’ve lost your faith? Are the old ways of protection still available to you? What’s happening to Evy feels so much deeper than just physical illness—it’s spiritual—and the scariest parts of the film are when you realize she’s completely unprepared for what’s coming, and that’s truly unsettling.
A24
A subtle layer of dread hangs over everything we see, constantly prompting questions and making it hard to trust our own perceptions. We might wonder if ordinary objects – like a hissing tea kettle – hold hidden meaning, or if something as familiar as a portrait has subtly changed. This unsettling quality extends to what we see as well as what we hear, creating a draining yet captivating experience.
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In the end, undertone realizes that the things we imagine can be much more frightening than anything shown on screen, making us face the disturbing truths hidden within our own minds.
undertone was reviewed following its premiere at the 2026 Sundance Film Festival.
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2026-01-28 22:18