Executive Producer
In theatres in 2026!
Summary
What do you do when you have limited time with your dying parent? You wait. And that’s what Evy (Nina Kiri, THE HANDMAID’S TALE, THE HERETICS) does as her mother lies on her deathbed, at home instead of a hospice. This deathwatch is solitary, but she has The Undertone, a paranormal podcast she co-hosts with her friend Justin, where she’s the resident skeptic to his more open-minded views. They explore “all things creepy,” which helps her concentrate on something other than her mother’s inevitable passing.
When Justin receives an email with ten mysterious audio files from an anonymous sender, the duo listens to them on air to find Mike, his partner Jessa, and their nightly bedtime ritual. Each recording becomes increasingly sinister, and Justin starts to hear disturbing discoveries with nursery rhymes and weird sounds. As Evy’s mother worsens, she gets some surprising news and finds strange drawings, religious icons, and upsetting things happening with her mother. The house becomes more overbearing and unsettling in its emptiness as she investigates the audio files. The two things seem to have nothing to do with each other, but soon, Evy and Justin become more than podcast hosts. They evolve into helpless spectators as an unbelievable nightmare unfolds.
Established sci-fi author Ian Tuason’s directorial debut, THE UNDERTONE, takes the veils between life, death, and religion and makes them thinner than ever. With innovative camerawork and skin-crawling sound design, he creates a terrifying liminal space with the familiar, making an unassuming home the stage for death and despair in every corner. Genre favourite Kiri carries the film brilliantly as the audience becomes voyeurs to her growing terror. Fans of SKINAMARINK and I AM THE PRETTY THING WHO LIVES IN THE HOUSE will love this slow-burn nightmare that will make hackles on your neck rise and your blood chill in this terrifying blend of podcast and cinema. – Carolyn Mauricette
