Presence Review
Ghosting Has Never Been So Literal – A Review of Presence
Steven Soderbergh must have woken up one morning and thought, What if I made a horror film, but the camera itself was haunted? And thus, Presence was born—a film that doesn’t just put us in the ghost’s shoes, but straps us into its spectral Uber and takes us along for the ride.
Told entirely from the perspective of a spirit lurking in a lavish home, this film is what happens when Paranormal Activity decides it’s too good for security cams and instead hires an auteur with a fancy lens. It’s as if Soderbergh dared himself to make the most sophisticated found footage movie ever, except the footage isn’t found—it’s possessed.
The movie follows a family moving into a new home, blissfully unaware that they’ve got a permanent plus-one in the form of an unseen entity. And, unlike most ghosts that just rattle chains and throw dishes, this one is more of a silent observer—basically the world’s worst Airbnb host. Instead of cheap jumpscares, Soderbergh crafts a creeping dread, like the feeling you get when you realize someone’s been staring at you in a Zoom call and you have no idea for how long.
What makes Presence stand out (besides its refusal to cut to a single normal reaction shot like a traditional horror film) is how it forces the audience to become the ghost. We’re not just watching the horror unfold—we are the horror. Ever wanted to know what it’s like to be an invisible third wheel while a family’s drama unravels? Congratulations, you’re now the supernatural equivalent of a nosy neighbor peeking through the blinds.
The unconventional cinematography means we experience everything from the spirit’s perspective, which is a hauntingly effective trick. At times, it almost feels like Soderbergh is making a point about the voyeuristic nature of cinema itself—if ghosts were real, they’d probably just be frustrated film buffs trapped between dimensions, eternally waiting for a good third act.
The performances are solid, especially considering the actors have to play off an invisible presence at all times. It’s basically The Others in reverse—this time, we’re the ones confused about why no one can see us.
And, of course, being a Soderbergh film, Presence refuses to play by traditional horror rules. There’s no loud orchestral stinger telling you when to be scared, no ghost popping out with a boo!—just a slow, eerie unraveling of a family dynamic under an ever-watchful eye. Think Hereditary, but instead of demonic possession, the terror comes from the dread of knowing you’re always being watched, like an eternal security camera that just won’t quit.
At the end of the day, Presence is less about jump scares and more about jumping to conclusions. It’s a chilling experiment in perspective, proving once again that Soderbergh is one of the few directors willing to ghost traditional filmmaking in favor of something completely new. It’s not your typical horror flick—it’s a full-blown séance of cinematic storytelling.
So, if you’re in the mood for a film that flips the ghost story inside out, Presence is worth a watch. Just don’t be surprised if, when the credits roll, you start wondering if you were the ghost all along.
3.5 Stars.
