Presence

Rating 6/10

Director Steven Soderbergh (Traffic, Ocean’s Eleven, Magic Mike) is an innovative filmmaker known for his genre-hopping. He’s delving into the supernatural with his latest project, a ghost story that is more unsettling than scary. The filmmaker has done psychological tension before —whether in the shifting perspectives of Side Effects, the unnerving claustrophobia of Unsane, or the sleek paranoia of Kimi. Soderbergh turns his eye toward the unknown. His new movie depicts a haunting “presence” lurking within a household.

Each member of the Paine clan is exemplified by clearly defined personality traits. There’s submissive father Chris (Chris Sullivan), overbearing mother Rebecca (Lucy Liu), and their children, arrogant Tyler (Eddy Maday) and introspective Chloe (Callina Liang). The foursome moves into a new home, unaware that a poltergeist lingers within its walls. While Rebecca and Chris struggle with marital difficulties, Chloe grieves the recent loss of her best friend, Nadia.

The spirit quietly watches them, and Chloe begins to sense a connection. Meanwhile, tensions in the family mount. Tyler’s insensitive behavior and Rebecca’s obsessive favoritism toward him create a rift. Tyler spends time with Ryan (West Mulholland), the popular boy at school who has become his new friend. As the unearthly force becomes increasingly active, the stage is set for a chilling confrontation.

Soderbergh’s signature approach to storytelling makes this paranormal fable unlike any other. Okay, well, maybe David Lowery’s A Ghost Story is kind of similar. Here, we are afforded the unique perspective of an unseen entity, silently observing the family as they go about their lives. That’s an interesting angle that lends the account an eerie feeling. The same POV technique was used recently in Nickel Boys. The showy camera trick promotes weird vibes, which perfectly suits a supernatural yarn. David Koepp, the prolific screenwriter who adapted Jurassic Park and Spider-Man (2002), crafts a script that leans into the banality of everyday conversation.

Presence is more of an experiment in mood than a traditional narrative. Thankfully, the saga is only 84 minutes long, so it wisely avoids overstaying its welcome. Just as its art-house stylings threaten to wear thin, the account pivots to a conventional climax, that befits the thriller genre. While that abrupt shift is a tonal departure from the rest of the picture, it nevertheless delivers a satisfying conclusion.

01-23-25