You know how when you go and see a scary movie, you’ll either be one of those people who covers their ears or their eyes when they can sense something bad is about to happen? Well, when it comes to Undertone, I really couldn’t advise which is the best move. Because although this film is marketed as the “scariest movie you’ll ever hear” (Collider), it was actually pretty difficult to watch too. An impressive feat and one that up-and-coming director, Ian Tuason, needs some serious praise for. Having directed short films up until this feature, it is genuinely exciting to see what comes next to Tuason, who demonstrates a true gift in scaring the absolute hell out of audiences.
Undertone is the story of Evy (Nina Kiri), a podcaster staying in her mother’s (Michèle Duquet) home to provide end-of-life care. At about 3 o’clock each morning she logs on to record her podcast, “Undertone”, with buddy Justin (Adam DiMarco). On one such occasion, Justin surprises her with 10 audio files which he has received from an anonymous email. They play each audio file and listen as they record the podcast together, unleashing something far beyond anything either of them can anticipate.
The film covers a broad range of themes, including the hidden or original meaning behind classic children’s nursery rhymes such as “London Bridge is Falling Down” and “Baa Baa Black Sheep.” It might be surprising to know the sinisterness behind these rhymes, and how this seemingly innocent soundscape provides a layer of discomfort throughout. Evy’s podcast research into these nursery rhymes also leads the film to explore women’s relationships (and what it means to be a mother, a daughter), the significance of the carer role, while also incorporating spirituality.
There are Christian icons that are hung up on the walls throughout Evy’s mother’s house (a self-confessed religious woman), while the sounds of demonic entities flood Evy’s headphones, almost attempting somewhat of a break-and-enter. There is a constant push and pull between what is good and what is evil in Undertone, which as the title may infer, the definitions of which become blurred.
All of these themes seem to tie together seamlessly and create a thick foreboding atmosphere. The sound and music really make Undertone what it is, but as mentioned, when paired with visual panning and placement, this is one of those edge-of-your-seat, heart pumping, agonising horror films. It floats between absolute extremes; very loud noises, followed by deafening silence. Slow panning shots, extreme close ups, and then complete blackouts. It’s hard to anticipate what is next, all the while knowing that in the undercurrent, there is something slowly building to a demonic crescendo.
Both Kiri and Duquet carry this film as the only people visually seen on screen, with the voice of DiMarco and several others lending their vocal quality to the hellish soundscape. Undertone is one of the most unsettling horror films to come out in a while, and it’s done in a way that is not at all reliant on physical violence or gore. It is refined and haunting, and well worth a (re)watch for fans of the genre.
FOUR AND A HALF STARS (OUT OF FIVE)
Undertone is screening in Australian theatres from April 9th, 2026.
