Undertone creates an atmospheric foreboding that stacks in a steady, rhythmic flow of fright, culminating in an abrupt, haunting ending that answers little.
Undertone is a gradual buildup of dread, allowing audiences to imagine the terror while building the foundation for their imagination. While it’s a slow burn, religious runtime might not have universal appeal, it’s one of the stronger films in the horror genre this year, thus far. This is how you masterfully craft terror without the blockbuster budget. Instead of shoddy special effects saturating the screen, the movie relies on the cast, off-kilter cinematography, and robust sound effects to house the horror. Undertone creates an atmospheric foreboding that stacks in a steady, rhythmic flow of fright, culminating in an abrupt, haunting ending that answers little.
Ian Tuason both writes and directs this feature debut in a claustrophobic, dimly lit setting. The movie follows a horror podcast co-host, Evy, played by Nina Kiri (The Handmaid’s Tale, Out Standing). She begins experiencing paranormal phenomena after listening to a collection of audio recordings emailed to the podcast. Underlying that rising terror is stress and guilt around her mother’s, played by Michèle Duquet (Twin Lies, Eaux Turbulentes), impending death as Evy cares for her while awaiting the “death rattle” signaling the end. As it’s an audio-only podcast for its listeners, it’s unsurprising and would be downright insulting if the film did not prioritize sound.
Undertone Makes the Moviegoer the Podcast Listener
Children’s songs and various sounds create a nightmarish mixture for the listener. Which in this situation is Evy, her co-host, Justin, voiced by Adam DiMarco (The White Lotus, Overcompensating), and the audience. Sure, there might be one too many, “did you hear that” littering the film. But thanks to its buildup of fear it creates an unconscious curiousity. It’s easy to crane your neck and cock your head as you strain to capture the elusive word or phrase along with them.
In fact, you may have that urge to rewind the film like me. But then you’ll grimace, straining to listen harder when you recall that you’re in a theater. Undertone does not scrimp on the sound design. It builds an entire atmosphere of terror with it that keeps audiences taut alongside Evy.
The Small Cast Sells It
Photo by Dustin Rabin. Courtesy of A24.
Nina Kiri’s character is the only one audiences see and hear. She admirably carries the story, crafting a convincing shift from standard skeptic to an I-don’t-want-to-believe-it believer. But others help build this teeny world. Adam DiMarco is only a voice. However, he sells it as the other half of the podcast and as a concerned friend trying to offer words of support from afar. And a much-deserved applause goes to Michèle Duquet, who, in a similar vein to the actress in The Autopsy of Jane Doe, spends the majority of the film not speaking or moving. It’s much harder than it looks.
Jumbled Thematic Tones Left to Interpretation
Guilt can be a beast lurking in the shadows for the opportune moment to pounce. But in Undertone, it is not the sole issue occupying Evy’s mind. After all, audiences see things that Evy does not. So, the implication is that whatever is occurring is genuine. Still, that does not detract from how guilt, especially tied with religious faith, builds into an insurmountable snowball. There is religion and exploration of gender, mothers in particular. While there is no answer forthese, Undertone leaves it up to audiences to draw conclusions.
If you’re not a fan of terror building on sound rather than sight, Undertone might be a lackluster flick. Its focus is creepy audio, children’s songs playing in reverse, screams, and talking that sounds so close you’d swear it’s over your shoulder. Even without shocks for the eyes, the enclosed, almost cramped and shadowed spaces of the home give the impression that two people living there is still one too many. Undertone is a dreadful, somber, slow burn of horror that eclipses visual terror for an audio hell. While some parts might seem well-traversed horror territory, it mishmashes everything to create something unique.
