Movie Review: UNDERTONE – Assignment X

By ABBIE BERNSTEIN / Staff Writer

Posted: March 17th, 2026 / 10:20 PM

Rating: R
Stars: Nina Kiri, Adam DiMarco, Michèle Duquet, Keana Lyn Basidas, Jeff Yung
Writer: Ian Tuason
Director: Ian Tuason
Distributor: A24
Release Date: March 13, 2026

Viewers may not want to play classic lullabies backwards – or maybe even forwards – after watching UNDERTONE. This low-budget indie uses sound and suggestion, along with disturbing subtext, to create a cumulatively unnerving experience.

Evie (Nina Kiri) is the caretaker for her extremely religious, bedridden and dying mother (Michèle Duquet). By the look of it, Evie is doing a good job, in that her mother is clean and comfortable. Evie stays home, seldom leaving their two-story house that is adorned everywhere with Catholic statues and imagery.

But Mother hasn’t eaten or spoken in the past two days as UNDERTONE opens, and Evie is preparing for the end. One of Evie’s few pleasures is the exploring-odd-phenomena podcast “Undertone” she does with her friend Justin (Adam DiMarco). The two haven’t seen each other in years and he lives in another country now, but they have an easy rapport with each other.

For the “Undertone” podcast, Evie plays the skeptic and Justin the believer, exaggerations of their real-life stances. When Justin receives ten audio files from an unknown sender, Evie’s first reaction is that he should delete them, as they probably contain viruses. This may well be the case, although the virus isn’t the kind that wrecks computers.

The files present to us a couple, Jessa (Keana Lyn Basidas) and Mike (Jeff Yung). Mike has taken to recording Jessa to prove to her that she is not just talking but in fact singing children’s songs in her sleep. By what seems to be coincidence, Evie has been singing “Baa, Baa, Black Sheep” around the house.

Research enthusiast Justin gets to the roots of these lullabies and others. The results are alarming. They’re worse when played in reverse. Sometimes all of us – that’s Evie, Justin, and the audience – can hear the words; sometimes it’s a mixture of who can and who can’t.

Writer/director Ian Tuason demonstrates great comprehension of the alarming power of sounds and sights that we can’t fully grasp. It’s like walking downstairs and missing a step by an inch. We’re straining to make sense of input that we’re still processing when some other eerie development surfaces.

Tuason bases his horror in ancient folklore. We don’t need to be religious ourselves to understand why this is happening in this household. Even some of Mom’s little knick-knacks are illustrative of what we’re being told.

There’s also a carefully-threaded theme running through UNDERTONE about certain unspoken terrors that almost everyone has to face, albeit usually not so quite drastically as in this film.

Evie has her secrets, but she’s not an unreliable narrator. As the audience sees things that she does not, we aren’t dependent on her perspective. It’s more that she’s so run down by circumstances when we meet her that we fear she doesn’t have the strength to fight for herself.

Kiri has a charismatic presence that makes her an unassuming but natural focal point. DiMarco supplies ready comradely cheer.

Such is the immersive quality of UNDERTONE that only when it’s done do we step back and appreciate the skill (and financial/temporal restraint) with which it has been made. It leaves us agitated and jumpy, which is a hallmark of well-crafted horror.

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