Films for Breakfast

Is podcast-based horror about to become a thing? As a horror buff, I can usually take most concepts in stride – I’ve seen just about everything the genre has to offer. But as someone who also hosts a podcast, this one hits a little too close to home. Undertone, the new horror film from A24 and the directorial debut of filmmaker Ian Tuason, follows Evy (Nina Kiri), a paranormal podcast host caring for her dying mother who slowly becomes consumed by paranoia after receiving a series of eerie, deeply personal audio recordings sent to her show. Submitted by a mysterious couple, the recordings begin to blur the line between Evy’s reality, the content of her podcast, and whatever sinister presence might be behind them.

Right off the bat, the film deserves credit for introducing a relatively fresh concept to a genre that often feels like it’s explored every possible angle. As Undertone unfolds, it genuinely feels like it’s venturing into new territory, and it opens with a hell of a hook. The moment Evy sits down to record and plays the first mysterious audio submission, the film immediately reveals what will ultimately be its greatest strength: the sound design. It’s sharp, unsettling, and incredibly precise in a way that makes the listening experience feel invasive and deeply uncomfortable. The film clearly understands the power of audio as a storytelling tool, and it uses that strength to create several moments that will make you squirm.

From a filmmaking standpoint, Tuason does some very impressive work for a first-time director. Several sequences, particularly in the third act, show a real sense of creativity and confidence behind the camera. He plays with perspective in interesting ways, using unconventional camera angles and even flipping the frame at unexpected moments to disorient the audience. The film also experiments with lighting, editing rhythms, and the movement of characters and objects in and out of frame, while shifting focus to subtly guide the viewer’s attention. These choices create an unsettling visual language that works hand in hand with the film’s sound design, making for some genuinely striking moments.

Where the film stumbles a bit for me is in the screenplay. I’m usually willing to forgive weaker narrative elements when the filmmaking itself is strong, but a lot of Undertone’s storytelling tropes feel frustratingly familiar. While the craft behind several scares is inventive enough to catch you off guard, the ideas driving those scares, and the broader themes the film is working with, never feel particularly surprising. It ends up feeling more like a well-executed genre exercise than a story with something especially memorable to say.

That said, the film still manages to sustain itself despite the thin material. Nina Kiri is very solid in the lead role, creating a protagonist who’s easy to invest in – a crucial element when you’re essentially following her for nearly the entire runtime. She carries the film well, grounding its paranoia and escalating dread with a performance that keeps you engaged even when the narrative begins to feel predictable. The pacing also works in the film’s favor. At just 85 minutes, Undertone moves quickly and never overstays its welcome.

So while it may not reinvent the genre or leave a lasting thematic impression, Undertone is still an effective and easy watch. Between Tuason’s confident direction, the film’s exceptional sound design, and a strong central performance from Kiri, there’s enough craft on display to make the ride worthwhile – even if the story itself ultimately feels a bit too familiar.