Black Swan Films
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One of the most compelling aspects of horror is its ability to transform mundane elements of everyday life into sources of unsettling dread. Ian Tauson’s debut feature, The Undertone, expertly capitalizes on our innate fear of failure—not just for ourselves, but also for our loved ones.
The film follows Evy (Nina Kiri), a podcaster who dedicates her days to caring for her ailing mother (Michèle Duquet). As her mother weakens, a nurse advises Evy to listen for the ominous “death rattle” that signals the end is here. In the early mornings, Evy co-hosts a podcast titled The Undertone, which delves into the supernatural. While Justin (Kristen Holden-Ried), her co-host, embraces the unknown, Evy adopts a more skeptical stance. When Justin receives an anonymous email containing ten eerie audio files, he persuades Evy to feature them on their show.
What sets The Undertone apart is its straightforwardness, immersing viewers in the moment and the characters’ experiences. The film’s “matter-of-fact” tone parallels Evy’s skeptical nature, borne out of her lapsed Catholicism as she grapples with the weight of her reality. This is reinforced by the simplicity of her mother’s home—a space that initially appears ordinary but gradually reveals a sinister underbelly.
The true creepiness of the film emerges as the house begins to distort and shift alongside the audio clips, which narrate the experiences of Jessa (Keana Bastidas) and Mike (Jeff Yung). The couple records their nights, hoping to capture Jessa’s sleep talking, only to uncover something far more horrifying. As the podcasters get further into the recordings, Evy begins to grow sleepless, as she starts to notice events the couple encounters, begin mirroring her own life.
The film’s strength lies in its aural soundscape, expertly crafted by sound designer David Gertsman and sound mixer Dana Kelly. Every creak, whisper, and unsettling noise is amplified, making The Undertone an ideal theatrical experience—where you’re unable to escape the immersion.
Cinematographer Graham Beasley complements the sound with visually arresting sequences. Slow pans, shadows, and Dutch angles contribute to a palpable tension that builds throughout the film, leaving the audience breathlessly peering for something terrifying, just out of their periphery. It’s simple, yet extremely smartly done. Slowly building how things become more and more dire before Evy’s eyes, before turning into a true house of horrors in the third act.
Black Swan Films
Kiri’s performance is the film’s linchpin. She conveys a wide spectrum of emotion, often in contrast to how she tries to present herself. Evy’s isolation is accentuated by her limited interactions, primarily with her mother, as most communication occurs through phone calls or recordings. This deliberate choice emphasizes her vulnerability to outside forces.
As the film progresses, it avoids the modern pratfalls of only investing in jump scares, for a slowly tightening vice of tension, culminating in a gripping finale. The decision to let audio resonate over a black screen, with the viewer trapped, is a bold and effective choice, solidifying The Undertone as a film that champions sound and ambiguity. Tauson has crafted a riveting horror experience that hints at a long career ahead.