Presence | TIFF 2024 | Review by: Benjamin Garrett
Although he’s helmed over 30 films, Steven Soderbergh refuses to settle on a comfortable genre or directorial style. Comedy, drama, romance, thriller and even horror - He’s constantly changing things up. While not always successful, it makes him one of the most fascinating filmmakers working today. Presence is a ghost story told from the perspective of the spirit, and for the most part, it’s another successful addition to his diverse catalogue.
The film follows Rebecca and Chris Payne (Lucy Liu, Chris Sullivan), and their two young adult children Chloe and Tyler (Callina Lang, Eddy Maday), as they settle into a new home. As the title suggests, there is an unknown presence in the house that begins to make itself known through strange occurrences. The entire movie unfolds through the ghost’s point of view, and never once strays from that concept.
Capturing the events through the eyes of a ghost gives the film a calm, voyeuristic feeling. It’s a ghost story, but it isn’t a horror film. No, this is more of a somber family drama with a supernatural hook. The camera floats throughout the home, swiftly moving between rooms and swirling around members of the family. The use of long, gorgeously orchestrated tracking shots and wide lensing brings a unique perspective to what could’ve otherwise been a relatively ordinary take on a paranormal story.
And there’s the kicker - beyond the way this movie is shot, there isn’t much else that stands out. This unique perspective also adds nothing narratively, which had me wondering if it was more of a gimmick than a creative storytelling technique. The movie actually functions decently as a family drama, but the spirit’s perspective didn’t enhance that aspect in any way. Visual storytelling is an important part of film and television, but it should add value to the story being told.
The disconnect, and uneven affections between members of the Payne family are what serve as the movie’s most interesting elements. Rebecca plays that favourite card with her children, with Liu deftly flipping between distantly cold and over-nurturing. Chris is far more balanced in his affections toward his family, and I thought Sullivan did an excellent job playing the weary mediator of the house.
Presence gives audiences a unique perspective on a not-so-unique ghost story. Soderbergh’s latest is technically proficient and well acted, but the visual gimmick isn’t enough to land the movie in the upper echelon of his filmography.
3/5
Review by: Benjamin Garrett
