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Review: ‘Presence’ is a cerebral ghost story that hides a family drama under the sheet

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Steven Soderbergh, an innovative filmmaker, continues to defy predictions that the movie industry is on its last legs. Known for his relentless work ethic, Soderbergh has produced 14 movies since 2010 when he initially hinted at retirement. Throughout his career, he has been instrumental in advancing two significant developments: kick-starting the indie revolution with “sex, lies and videotape” in 1989, and championing digital cameras. Recently, Soderbergh has been actively involved in a contemporary Hollywood trend – renowned directors producing high-quality films on limited budgets (like M. Night Shyamalan). Given his impressive body of work, he deserves the respect due to an industry veteran. Surprisingly, he still maintains the spirit of a rebellious upstart.

In a fresh take on narrative filmmaking, Soderbergh’s recent work may have some minor bumps, but “Presence,” penned by David Koepp (“Kimi”), offers an intriguing twist: The camera serves as the ghostly presence itself. Viewers find themselves immersed in the perspective of a silent entity exploring a two-story suburban residence. Soderbergh is wielding the camera, although cinematography credits are attributed to his customary alias Peter Andrews, masking the director’s true identity.

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Frequently, the cinematographer behind many of the director’s award-winning films, including “Traffic,” had an innovative concept for a first-person horror genre production, which demanded considerable endurance.

Based on the camera angle, it appears that the ghost is significantly larger than an average small child. Initially, the ghost can be seen moving around by itself within the movie’s sole setting – a century-old house with a balcony wrapping around three sides. Unfortunately for the ghost, it seems unable to venture outside and appreciate this old dwelling. The role of the real estate agent is portrayed by Julia Fox, who insists that there’s no dark past associated with the property and appears to be speaking honestly. Unlike other supernatural movies, this film doesn’t require its characters to resort to using a Ouija board or other similar methods to address any mysterious occurrences.

In time, a family settles in: parents named Rebekah (Lucy Liu) and Chris (Chris Sullivan), along with their adolescent children Tyler (Eddy Maday) and Chloe (Callina Liang). Does the ghost approve of these new housemates? Is it irritated that they changed its beloved room from salmon to blue? Is there harmony or conflict between the unseen and tangible realms? The ghost remains silent, and Soderbergh keeps his cards close. This subdued movie focuses on the art of watching.

The scenes that unfold appear as if therapy is being secretly filmed on a covert camera. It’s not scary, rather it’s filled with tension. Silently, we observe as the ghost subtly points out the fractures tearing apart this family unit. Brothers Tyler and Chloe are at odds: Tyler, the popular athlete, versus Chloe, an outsider who recently lost her best friend to a drug overdose. Their interactions are scarce, as communication is sparse throughout the household. Moreover, they’re not just divided by high school cliques of popularity; their parents seem to have favored one over the other.

Rebekah, who’s ambitious in her corporate life but also has a ruthless side, seems to prioritize her oldest son, Tyler. She often expresses this sentiment by saying, “Everything I’ve done is for you,” while drinking more than one whiskey. (Tyler politely reminds her that he’s not the only child.) Liu finds it hard to feel compassion for Rebekah, given her heartless treatment towards her children. She treats her daughter, Chloe, as if she doesn’t exist at all – as if Chloe is a mere spirit, invisible. When Chris, who is sensitive and understanding, defends Chloe, Rebekah retaliates by saying, “She can’t bring us all down with her!

As a movie enthusiast, I’d say “Presence” is marketed as a chilling ghost story, but it feels more like an intricate family drama beneath the surface. The peepholes are the only elements that distinguish it from countless other ordinary films about the wounds we inflict on those closest to us. Unfortunately, the narrative lacks the depth and substance needed to truly captivate our attention.

If you put effort into it, the idea becomes more impactful. Isn’t it ironic that the extraordinary fails to frighten compared to everyday occurrences? For instance, a ghost may not be as menacing as a mother who neglects her child or a husband contemplating divorce instead of talking things out with his wife. One particularly chilling moment occurs when Tyler laughs about a cruel prank he played on a classmate off-screen. He’s attempting to impress a cool friend named Ryan (West Mulholland). However, Ryan seems more interested in Chloe. Tyler swiftly attempts to halt their bonding with a stiff conversation that starts with a tense, “Dude.

The secret act of listening in on private conversations makes us acutely aware that these characters often mask their true feelings and adapt their behavior based on who’s around. It seems everyone in the household exists in a transitional phase between youth and maturity, simultaneously connected and detached, skeptical yet innocent. The presence of a ghost, existing yet departed, is an apt fit, particularly when it comes to Chloe, whose grief has left her treating her own life casually, much like children do when they believe they’ve already experienced enough. Remarkably, Liang understands that Chloe is most destructive when she pretends to be self-assured and content.

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In this setting, the acts seem more like they’re following rehearsed routines. After a while, you grow accustomed to their deliberate avoidance of the camera, making it surprising when Lisa (Natalie Woolams-Torres), whose name we know, appears acutely conscious of the lens. She nervously glances at it, as if trying not to spook a skittish chimpanzee. This added tension is captivating.

Most people seem preoccupied with their personal issues, leaving them little time to engage with the supernatural consistently. Interestingly, the ghost appears somewhat detached too. In certain instances, the spirit behaves like a pesky poltergeist, causing chaos by tipping over glasses and knocking down shelves; in other moments, it seems mysteriously confined within some sort of electronic device, such as a plasma screen.

Just as we are, spectators find ourselves powerless to prevent the characters on screen from causing harm to themselves or others. This applies to every movie. The supernatural presence interposed between us and the action serves to remind us that each film, in its core, is a haunting experience. As viewers, we are like time-traveling peeping Toms. Ironically, we may be even more intrusive and unsettling. For instance, when Chloe becomes intimate with a boy, the ghost averts its gaze, but our inclination is to continue watching – an eerie and invasive act.

There’s an explanation behind why the ghost is tormenting this particular family, as Lisa intuits, the spirit seems to be “attempting to understand you – it’s trying to comprehend itself.” Once that enigma is unraveled, the ghost can depart the house, possibly with a grand orchestral finale. The conclusion, however, left me with more queries than responses. As this underdeveloped plot slipped off my back, I started contemplating not about this fictional family but about my own curiosity as a movie-goer – the persistent desire to observe other people’s lives. There will always be fresh sights and knowledge to discover. I have a feeling that’s also why Soderbergh continues to wield his camera.

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2025-01-23 14:31

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