Presence (2024)

An abstract ghost story that is very loose structurally, “Presence” is doubtfully neurotic, walking a darkly and frankly nightmarish path in telling a small-scale plot involving familial conflict, scaring audiences by redefining normalcy. 

Auteurs can go in many directions throughout their careers, especially for career filmmaker Steven Soderbergh, who has made such hits as Ocean’s Eleven and Magic Mike, and Oscar contenders like Erin Brockovich. He is at the top of his game here, making a low-level ghost story seem polished and excellently shot, with a moving POV throughout that perfectly exemplifies the titular family, allowing viewers’ doubt to slowly seep into the rhythmic setting this takes place in. What works best in favor of “Presence” is a normalcy that serves as an excellent primer, slowly peeling its skin off throughout with no collection of those impacted. 

Very covert in intention, “Presence” gets under viewers’ skin by showing the first-person POV of an unusually sinister lens, or “presence” intertwined within a suburban household. The first scene in this is an overview of an empty and darkened house, a way for viewers to get familiarized with the setting while also presenting this force that’s struggling with itself and its purpose. Narratively, frequent cuts cause the structure to be divided into unique snapshots, which gives the plot the eeriness of a ragged family portrait. 

Unlike most horror movies I’ve seen of late, “Presence” relies on a unique ensemble to make a family seem real: the mother, Rebecca (Lucy Liu), the father, Chris (Chris Sullivan), the son, Tyler (Eddy Maday), and the daughter, Chloe (Callina Liang). All of them shine in their respective roles, as they try their best to give the film a domestic feel.

Overall, “Presence” is a fresh take on the iconic ghost story with solid camerawork, realistic acting, and scares that will tantalize in viewers’ minds long after the credits roll. 

7/10 🍿🍿🍿🍿🍿🍿🍿

Where to Watch: In Theaters