Prepare to be haunted by a new breed of horror that will leave you questioning reality long after the credits roll. 'Undertone' is not just a film; it’s an auditory nightmare that redefines what it means to be scared in the dark. In an era where horror feels overdone—with franchises like Scream and Halloween endlessly recycling themselves and the 'found footage' trope worn thinner than a ghost’s whisper—A24’s latest offering stands out as a chilling exception. But here’s where it gets controversial: Undertone dares to suggest that the scariest stories are the ones we can’t see, only hear. And this is the part most people miss: it’s not about jump scares or gore; it’s about the terror that creeps into your mind when you close your eyes.
Premiering in the Midnights section of the Sundance Film Festival after winning hearts (and haunting minds) at the Fantasia Film Festival, Undertone is a masterclass in restraint. Directed and written by Ian Tuason in his feature debut, the film draws from his deeply personal experience of caring for his dying parents during the pandemic. This isn’t just a horror movie; it’s a psychological suspense thriller wrapped in the eerie soundscape of a paranormal podcast. Tuason’s ability to blend real-life trauma with supernatural dread is what makes this film so unnerving. It’s a ‘micro horror’ that feels both intimate and universally terrifying.
At its core, Undertone is a modernized radio play disguised as a podcast. Our protagonist, Evy Babic (played by the captivating Nina Kiri), is a troubled woman recording episodes of her show with co-host Justin (Adam DiMarco) from her makeshift studio at home. Their dynamic—Justin the believer, Evy the skeptic—drives the narrative as they dissect anonymous audio files sent by a mysterious source. These files reveal the increasingly bizarre experiences of an unseen pregnant couple, blurring the lines between reality and the paranormal. But as Evy digs deeper, her own life begins to unravel. Pregnant herself, caring for her dying mother, and battling personal demons, she finds herself drawn into a nightmare that feels all too real.
What sets Undertone apart is its reliance on sound. The state-of-the-art sound design is so immersive that it demands multiple viewings to fully appreciate. From children’s nursery rhymes played backward to unsettling demonic messages, the film uses audio to create a sense of dread that lingers long after the screen goes dark. It’s a bold departure from traditional horror, and that’s what makes it so divisive. Is it a genius reinvention of the genre, or a frustrating exercise in minimalism? We’ll let you decide.
Kiri’s performance is a tour de force, carrying the film almost single-handedly as Evy grapples with her fears and doubts. DiMarco’s smooth delivery as Justin adds a layer of authenticity to their complex relationship, while Michele Duquet’s haunting portrayal of Evy’s comatose mother adds to the film’s oppressive atmosphere. Tuason’s background in 360-degree horror shorts and VR content is evident in his ability to craft a story that feels both innovative and deeply rooted in classic suspense.
Undertone isn’t just a horror film; it’s a meditation on grief, motherhood, and the unseen forces that shape our lives. It challenges the audience to listen closely, to feel the terror in every whisper and silence. By the end, you’ll be left wondering: What’s more frightening—the things we can see, or the ones we can’t?
Title: Undertone
Festival: Sundance – Midnights
Distributor: A24 Films
Release Date: March 13, 2026
Director/Screenplay: Ian Tuason
Cast: Nina Kiri, Adam DiMarco, Michele Duquet
Running Time: 1 hour and 34 minutes
Now, we want to hear from you: Does Undertone sound like the kind of horror that would keep you up at night, or do you prefer your scares more in-your-face? Let us know in the comments—and don’t say we didn’t warn you.
