Horror’s power doesn’t reside in what you *see*, but what you *hear*. Think about the most chilling moments in film – chances are, a sudden, jarring sound is at the heart of it. Mute a horror movie, and the fear evaporates, leaving only visuals that, while perhaps unsettling, lack their true impact.
Alfred Hitchcock understood this implicitly. The shower scene in “Psycho” is iconic, yes, but the image of Norman Bates with a knife is amplified, made truly terrifying, by Bernard Herrmann’s shrieking violin score. That sound, more than the visual, has haunted generations of moviegoers.
Few films truly explore sound as a narrative force, making “Undertone” a remarkable exception. The film centers on Evy (Nina Kiri), a podcast co-host investigating listener-submitted paranormal experiences, and her skeptical approach to the supernatural alongside her believer co-host, Justin (Adam DiMarco).
Evy records “The Undertone Podcast” in the dead of night, a necessity given Justin’s location in London while she cares for her ailing mother, Mama (Michèle Duquet), who is now receiving hospice care at home. The story unfolds almost entirely within the confines of this house, with Justin’s presence limited to phone calls.
Their latest case arrives as a cryptic email containing ten audio files from an anonymous source. These recordings document Mike and Jessa (Jeff Yung and Keana Lyn Bastidas), a couple anticipating the arrival of their first child. Initially, the recordings seem harmless – Mike simply wanted to capture Jessa’s sleep talking.
But as Evy and Justin delve deeper, Jessa’s nocturnal murmurs become increasingly disturbing. They uncover a terrifying truth: the couple is being haunted by Abyzou, a mythical demon who preys on expectant mothers, inflicting miscarriages and loss.
The haunting doesn’t remain confined to the recordings. Like the cursed tape in “The Ring,” Abyzou’s presence bleeds into Evy and her mother’s reality, turning their home into a vessel of dread.
Nina Kiri delivers a captivating performance, carrying the film with a quiet intensity. Confined to her mother’s house and largely acting opposite an unconscious patient, she embodies the mounting fear and isolation with remarkable skill. Adam DiMarco, though only heard through the phone, provides a crucial emotional anchor as Evy’s supportive co-host.
However, the true star of “Undertone” is its sound design. Every creak, whisper, and distorted audio fragment is meticulously crafted, creating an atmosphere of palpable unease. The sound department’s attention to detail is simply outstanding.
Justin’s podcast sign-off perfectly encapsulates the film’s core message: “Don’t be afraid of the dark, be afraid of the silence.” This sentiment is beautifully complemented by Graham Beasley’s eerie and deliberate camerawork, which adds another layer of suspense.
Writer/director Ian Tuason, in his feature film debut, demonstrates a remarkable ability to build tension within self-imposed limitations. He’s crafted a compelling and unsettling narrative, proving his potential as a filmmaker to watch.
“Undertone” is a slow-burn horror that prioritizes atmosphere and craft over jump scares and spectacle. It’s a film that demands to be experienced, not just watched, and is best enjoyed in a theater with immersive sound capabilities.
