Login
While searching for a new place to live, Rebekah (Lucy Liu) and Chris (Chris Sullivan) pounce on a sizeable home in a good neighbourhood, moving into the residence with their two children, Chloe (Callina Liang) and swim champion Tyler (Eddy Maday). However, an invisible apparition already inhabits the house and silently observes everything, soon making itself known to Chloe, who believes the spirit is benevolent instead of evil. Chloe mostly withdraws from the family after losing her best friend to a drug overdose, while her parents encounter marriage trouble as Rebekah is committing financial fraud at work. Tyler also makes a friend in Ryan (West Mulholland), who soon connects with Chloe, a notion that the Presence seemingly disapproves of.
Avoiding the banal monotony of In a Violent Nature (a slasher film from the killer's perspective), Koepp and Soderbergh have an interesting story to tell for those with the patience to stick with the deliberately paced narrative. More than a simplistic horror movie about a poltergeist randomly appearing and terrorising a family, Presence has a few surprises and twists up its sleeve, with the apparition serving a legitimate purpose in the narrative beyond wreaking havoc. Plus, as the spirit silently observes the characters and their conversations, the movie provides crucial information about the family and their domestic situation without forced, unnatural dialogue. Koepp's script even has an answer for the usual "Why don't they move out?" crowd, even after the apparition reveals itself to the family. Although Rebekah broaches the topic of leaving, Chloe refuses to move because she believes the Presence is friendly, and Chris chooses to stand by his daughter by staying in the house. Admittedly, however, Presence incorporates a few well-worn genre staples, including a psychic medium who comes to help and investigate during the picture's weakest scene. Additionally, there is insufficient payoff for an intriguing subplot about Rebekah engaging in illegal activities at work, but these are the only real shortcomings.
Captured with smooth long shots by Soderbergh, who served as cinematographer and editor (under his usual pseudonyms, Peter Andrews and Mary Ann Bernard), Presence establishes a thick sense of atmosphere, while the photography deliberately makes the titular Presence feel like an unwelcome voyeur with unclear motivations. The house feels authentic and lived-in, with realistic lighting instead of obvious, over-the-top soundstage lighting, underscoring the feeling that Soderbergh's camera is observing a real family in their home. Equally worthy of praise are the special effects, as Soderbergh convincingly shows the unseen Presence interacting with objects around the house, from moving books to pulling down shelves and toppling dozens of trophies. The seams are invisible, making it unclear whether the director achieved these moments using CGI or shrewd practical effects with digital assistance to remove wires and crew. The impressive sound design further assists the production, and Zack Ryan provides an effective score that does not lean into jump scares.
With recent movies like Unsane, No Sudden Move, Kimi and now Presence, Soderbergh continues to prove himself as a reliable purveyor of fascinating and innovative features, making it all the more fortunate that the filmmaker did not stay in self-imposed retirement. Instead of another by-the-numbers ghost tale, Presence is a compelling, visually unique psychological thriller with terrific performances from a cast of recognisable performers and newcomers. The only well-known star here is Lucy Liu, who submits a nuanced, realistic performance and comes across as a highly believable suburban mother who dotes on her high-achieving son. Presence feels like an auteur movie all round, with Soderbergh ensuring viewers will not mistake it for a Paranormal Activity sequel.
7.9/10
