Sound plays a crucial role in horror films, often triggering fears that visuals alone cannot evoke. An abrupt noise can send chills down the spine, launching at least 90% of all movie scares—though a precise study may not exist to back that claim, it rings true in practice. Consider the iconic shower scene from Alfred Hitchcock’s “Psycho.” While Norman Bates’ shadow looming in the bathroom offers an unsettling sight, it’s the piercing shriek of Bernard Herrmann’s violins that cemented this moment in cinematic terror. Without sound, even the most visually striking scenes can lack the desired impact.
A24’s “Undertone” stands out in the horror landscape by fully embracing sound as a storytelling element. The film follows Evy (Nina Kiri), co-host of “The Undertone Podcast,” which explores listener-submitted paranormal tales. The twist? Evy is dealing with the harsh realities of caring for her dying mother, “Mama” (Michèle Duquet), while her podcast partner, Justin (Adam DiMarco), grapples with his beliefs from across the pond in London. Their recording sessions are set in the dead of night, creating a tight, insulated atmosphere punctuated only by their voices—a clever choice that enhances the film’s eerie tension.
As the plot unfolds, listeners hear the story of Mike and Jessa, a couple haunted by the mythical demon Abyzou, known for her jealousy of mothers. What begins as innocent nighttime chatter quickly escalates into something deeply unsettling. “Undertone” cleverly replicates the same anxiety felt by viewers who have encountered haunted objects in films like “The Ring.” This approach of auditory storytelling is both innovative and chilling.
Kiri’s performance is remarkable. As the only visual anchor in the film, she carries an emotional weight that resonates throughout the confined setting of her mother’s home. Her maternal connection to Mama adds layers to her portrayal of fear and vulnerability, effectively utilizing silence and sound to amplify tension. DiMarco, while absent visually, breathes life into his character solely through voice, offering a heartfelt counterpoint to Kiri’s isolation.
Sound design in “Undertone” deserves particular praise. Every auditory detail, from the unsettling recordings to the whispers of the house, contributes significantly to the film’s ominous atmosphere. Viewers might find themselves holding their breath, waiting to hear what lurks in the silent spaces. The mantra from Justin, “Don’t be afraid of the dark, be afraid of the silence,” underscores the pervasive dread intertwined within the film.
The visual style complements the sound. Cinematographer Graham Beasley’s camerawork adds another layer of unease. Writer/director Ian Tuason, in his feature debut, proves he can masterfully weave narrative limitations into compelling filmmaking. The film’s constraints heighten the sense of confinement and dread, although it remains to be seen whether such levels of creativity will persist throughout his career.
A24 has carved out a niche for itself as a distributor unafraid to take bold risks with horror narratives. Films like “The Witch” and “Hereditary” have come to define a new standard in modern horror, and “Undertone” fits seamlessly within this genre legacy. Despite the tense atmosphere and engaging plot, it may not reach the mainstream appeal of blockbuster titles like “Scream 7.” In a cinematic landscape saturated with star power and hefty budgets, “Undertone” offers something genuine and refreshing.
In conclusion, “Undertone” stands as an unsettling slow burn, artfully exploring the intersection of sound and horror. This film demands to be experienced aurally as well as visually, and for those willing to immerse themselves, especially in a theater equipped with Dolby Atmos, it delivers an unforgettable cinematic experience. Horror enthusiasts looking for genuine suspense should keep this title on their radar.
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