Steven Soderbergh’s Presence is an intriguing supernatural drama that plays with perspective in a way that’s both creative and, at times, limiting. Told entirely from the viewpoint of an unseen ghostly entity, the film locks us into the role of a silent observer, watching a fractured family unravel. It’s an effective conceit at times, creating an eerie atmosphere, but it also draws attention to itself and can occasionally feel more like a stylistic experiment than an essential storytelling device.
Presence leans heavily into family drama, with supernatural elements that often feel like a framing device rather than a driving force. The story explores grief, secrecy, and dysfunction, anchored by strong performances from Callina Liang and Chris Sullivan. Liang is quite good as Chloe, a teenager weighed down by trauma and unseen forces—both literal and figurative. Sullivan is also a standout, convincingly portraying a father doing his best under difficult circumstances, adding much-needed warmth to the family dynamic. And Lucy Liu brings an air of mystery to her role as the family matriarch, though the script doesn’t give her as much to work with as it could. That being said, there were moments of somewhat bumpy performances—perhaps a consequence of the film’s commitment to long takes.
The film’s deliberate pacing is mostly effective, bolstered by the intrigue within the family dynamic. However, it often feels like key moments are missing—ones that could have intensified the tension. The ghostly interactions are there but remain too subtle and infrequent to leave a real impact—something the film needed more of, especially with this perspective as its central hook. There are a few creepy moments and a steady build toward the dramatic finale, but, at least for this viewer, a stronger sense of horror or supernatural urgency throughout would have made the journey more gripping.
OTHER POSTS:
Soderbergh’s direction, as always, is precise, and the cinematography leans into long, unbroken takes to build immersion. While the techniques on display do strengthen some of the film’s quieter, more atmospheric moments, they can also make the perspective feel restrictive rather than revelatory. A full-length commitment to this particular viewpoint should allow for greater creative and narrative opportunities; Presence often feels like it’s holding back, rather than pushing its concept to its full potential.
One of the film’s narrative issues lies in its internal logic. Again, without getting into specific plot details, the ghost’s capabilities seem inconsistent, appearing more active in some moments than others. While this may serve the film’s structure, it also raises questions that make certain developments feel more like narrative conveniences than organic storytelling. “Hey, it would be cool to show the ghost doing this.” And later: “No, it can’t now—’cos plot.”
Presence remains engaging, though it carries an unfortunate air of missed opportunity. While it offers a few standout moments, a couple of strong performances, and an occasionally immersive visual style, it never fully leans into the horror or psychological thriller elements that could have made it truly striking.
