Steven Soderbergh, a name synonymous with innovative filmmaking, returns with “Presence,” a film that premiered at Sundance and immediately sparked conversations. This isn’t your typical haunted house narrative; Soderbergh, ever the experimenter, presents the story from the perspective of the resident ghost. This intriguing premise, however, struggles to maintain its momentum, ultimately falling short of its potential.
Presence
Soderbergh’s pandemic-era filmmaking, exemplified by the underappreciated “Kimi,” showcased his ability to thrive within limitations. “Presence” shares this DNA, a single-location genre exercise that allows him to flex his creative muscles as both director and cinematographer. The film unfolds within a recently renovated house, now home to a family of four: Lucy Liu and Chris Sullivan portray the parents, while Callina Liang and Eddy Maday play their teenage children. Like many families in horror narratives, they carry emotional baggage, hoping a fresh start in a new home will alleviate their troubles.
The film’s unique perspective, that of the ghost inhabiting the house, is initially captivating. Soderbergh employs a series of unbroken sequences, allowing the “presence” to observe the family’s unraveling. We witness the daughter grappling with grief, the mother’s blatant favoritism towards her son, and the father’s anxieties about an impending legal battle. The narrative unfolds slowly, raising questions about the ghost’s identity and intentions, blurring the lines of genre in a way that initially fascinates. Soderbergh’s camera glides through the house, offering glimpses and fragments that construct an unconventional portrait of a family in crisis. The strategic use of music hints at a grand emotional arc.
However, as the narrative progresses, the intrigue begins to wane. The family dynamic, initially intriguing, becomes increasingly difficult to believe. David Koepp’s portrayal of familial discord feels heavy-handed, with the mother and son veering into caricature, their negativity contrasting starkly with the perceived “saintliness” of the father and daughter. The relatable passive-aggression escalates, but instead of a dramatic explosion, the tension fizzles. When a more conventional thriller plot emerges, it feels equally unconvincing. The carefully laid crumbs of mystery lead to a surprisingly predictable and uninspired reveal. The film’s climax lacks the necessary punch, leaving the audience with a sense of disappointment.
While the visual gimmick of the ghost’s perspective is initially engaging, it ultimately fails to sustain the narrative. The film’s intriguing premise gives way to a predictable and somewhat clichéd storyline. The characters, despite the actors’ efforts, lack depth and complexity. Their motivations feel contrived, and their interactions often lack authenticity. The family’s internal conflicts, which should be the driving force of the narrative, feel manufactured and unconvincing. The film’s attempts to explore themes of grief, family dynamics, and the weight of the past fall flat, failing to resonate with the audience.
“Presence” feels like a missed opportunity. Soderbergh’s technical prowess is evident, but the narrative and character development are lacking. The film’s unique perspective, while initially intriguing, ultimately becomes a crutch, preventing the story from reaching its full potential. The film’s reliance on genre tropes, without offering any fresh or innovative twists, further contributes to its underwhelming nature.
The film’s visual style, while technically impressive, does little to elevate the narrative. The use of unbroken sequences, while creating a sense of immersion, also contributes to the film’s slow pace. The camera’s gliding movements, while initially captivating, eventually become repetitive and distracting. The film’s color palette and lighting, while effective in creating a sense of atmosphere, do little to enhance the emotional impact of the story.
The performances, while adequate, are not particularly memorable. Liu and Sullivan deliver solid performances, but their characters lack depth and complexity. Liang and Maday, as the teenage children, are given little to work with, their characters relegated to the sidelines. The supporting cast is equally forgettable, their presence adding little to the overall narrative.
“Presence” is a film that is ultimately haunted by its own potential. Soderbergh’s experimental approach, while commendable, fails to deliver a compelling or satisfying narrative. The film’s unique perspective, while initially intriguing, ultimately becomes a gimmick, preventing the story from reaching its full potential. The characters lack depth, the plot is predictable, and the overall emotional impact is minimal. While the film may be of interest to Soderbergh aficionados and those interested in experimental filmmaking, it is unlikely to resonate with a wider audience.
While “Presence” offers a unique perspective and showcases Soderbergh’s technical skills, it ultimately falls short of its potential. The narrative is predictable, the characters lack depth, and the thematic exploration is superficial. The film’s reliance on genre tropes, without offering any fresh or innovative twists, further contributes to its underwhelming nature. While the film may be of interest to Soderbergh aficionados and those interested in experimental filmmaking, it is unlikely to resonate with a wider audience.
