Dir: Ian Tuason
Cast: Nina Kiri, Adam DiMarco
This aural supernatural chiller smartly taps into the world of modern podcasts to create a genuine sense of dread. Unfortunately, this potentially spooky flick is undone by a lack of scares and an underwhelming ending
“Undertone” is the latest supernatural horror from independent powerhouse A24, marking the directorial debut of Canadian filmmaker Ian Tuason. Tuason drew inspiration from his own life, caring for his terminally ill parents, which put his budding career on pause after a handful of short films. What began as a radio play evolved into a feature, with Tuason weaving his personal journey into the story and experimenting with storytelling that unfolds entirely through sound.
Tuason’s debut feature made its mark at the 29th Fantasia Film Festival, catching A24’s eye and earning a $500,000 acquisition. The studio is positioning “Undertone” as the next cult horror sensation, hoping it will echo the success of indie found footage hits “The Blair Witch Project” (1999) and “Paranormal Activity” (2007). After its 2025 premiere, Tuason coincidentally landed a gig with Blumhouse to helm the eighth “Paranormal Activity” film, slated for May 2027. Having watched “Undertone” following its UK release over the weekend, I can see why: its stripped-back, intimate style channels the eerie simplicity that made the franchise a phenomenon.
Though not a found-footage film itself, “Undertone” taps into the zeitgeist by weaving its chills into the contemporary world of podcasting. As true crime and supernatural podcasts captivate listeners hungry for mysteries and ghost stories, the film unfolds entirely within the childhood home of Evy (Nina Kiri), a horror podcaster. She co-hosts the titular “Undertone” podcast with Justin (Adam DiMarco), who has moved to London, forcing Evy to record in the eerie hours of the night. Their dynamic echoes that of “The X-Files” Mulder and Scully, with Evy as the sceptic and Justin as the believer, adding a nostalgic spark for fans of paranormal sleuthing.
Evy confides in Justin that the podcast is her lifeline as she navigates the stress of caring for her dying mother, a situation that strains her relationship with her indifferent boyfriend. During their latest late-night recording, Justin proposes that they listen to ten mysterious audio files sent by an anonymous source. These recordings, made by a couple named Mike and Jessa, capture Jessa’s unsettling sleep-talking, which Mike obsessively documents each night. As the files progress, sinister forces seem to emerge, hidden within nursery rhymes backmasking, and the haunting presence begins to seep into Evy’s home and her mother’s fragile world as they near the tenth and final recording.
The film’s roots as an audio play shine through in its inventive approach to supernatural horror. Instead of relying on jumpy visuals, Tuason conjures dread through masterful sound design. As Evy slips into the podcast, the world narrows to a tense, negative space where every ordinary sound becomes a source of terror. Nina’s noise-cancelling headphones plunge you into an aural nightmare, stripping away all comfort. With no musical cues to warn of danger, viewers are left as vulnerable as Evy, with scares occasionally slipping into view before our protagonist can realise.
By stripping away sound, Tuason crafts a chilling atmosphere without resorting to cheap jump scares. He borrows the slow pans and zooms of found footage films, teasing us with glimpses of what might lurk in the shadows. The sound design lets our imaginations spiral, but here lies the film’s flaw: for all its expertly built tension, “Undertone” delivers little in the way of payoff. I admittedly spent most of the taut runtime on edge, waiting for a scare that never truly arrived. While Tuason’s focus on the protagonist’s personal struggles is admirable, given his personal connection, audiences deserve a reward for their patience. When the scares finally appear in the final few minutes, they feel predictable and muted, which left my packed screening confused and disappointed.
The absence of a satisfying payoff may turn off some horror fans and risk “Undertone” fading from memory, yet I suspect it could find a second life as a cult favourite, much like “The Blair Witch Project,” which was also guilty of a lack of scares. Regardless of how audiences respond, the film’s technical prowess and promise give me hope that Tuason can revive the “Paranormal Activity” series next year. While “Undertone” may not claim the title of the scariest film of 2026, as A24 promised, I recommend it for anyone seeking a uniquely unsettling audio-driven experience.
The Verdict:
With “Undertone,” Ian Tuason crafts a chilling symphony of sound, where each eerie note lingers long after each creepy audio file ends. Though the jump scares are rare, the masterful sound design weaves a constant, creeping dread that pulls you deep into the haunting world of horror podcasts.
Undertone is now showing in UK Cinemas
Dan Loves Film 
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