A24's horror film 'undertone' premiered in the Midnight section at the Sundance Film Festival, earning praise for its innovative use of sound over visuals. Directed by debut filmmaker Ian Tuason, the movie follows podcasters uncovering eerie audio files tied to a pregnant couple's plight. It builds tension through psychological suspense rather than typical genre tropes.
The film 'undertone,' marking the feature directorial debut of Ian Tuason, screened in the Midnights lineup at the Sundance Film Festival on a Saturday night. It had previously won the audience award at last summer's Fantasia Film Festival. Distributed by A24, the movie is set for a wider release on March 13, 2026, with a runtime of 1 hour and 34 minutes.
Tuason drew inspiration from personal experiences caregiving for his dying parents in Toronto during the pandemic. His mother passed away after a few months, followed by his father two and a half years later. These events, including hallucinations observed, influenced the story, which Tuason shot in his childhood home as a form of 'micro horror.' Before this, he created 360-degree horror shorts on YouTube, along with 3D videos and VR content.
The narrative centers on podcasters Evy Babic, played by Nina Kiri, and her co-host Justin, voiced by Adam DiMarco. Their show explores urban myths, unsolved cases, and paranormal activity. They receive 10 anonymous audio files depicting strange occurrences around a married couple, with the wife expecting a child. Justin believes in the supernatural, while Evy remains skeptical—until personal events challenge her views.
Evy grapples with staying sober, caring for her comatose mother (Michele Duquet), and discovering her own pregnancy from an unreliable partner. The story incorporates elements like children's nursery rhymes played backward, revealing unsettling demonic messages, and folklore about a ghostly demon linked to stillbirths.
Critics highlight the film's reliance on state-of-the-art sound design to evoke dread, making it feel like a modernized radio play. Though it touches familiar horror motifs toward the end, it stands out for leaving much to the imagination. Producers Dan Slater and Cody Calahan backed the project, which prioritizes psychological depth over cheap scares.
