Written by David Koepp (Indiana Jones and the Dial of Destiny, The Mummy 2017) and directed by Steven Soderbergh (Logan Lucky, Side Effects), Presence presents an interesting premise that doesn’t quite succeed in its execution. Produced on a $2 million budget and filmed in just three weeks primarily within one location, it's a creative effort that ultimately fails to leave a strong impression. The entire film unfolds from the perspective of some kind of being inhabiting a suburban house. This supernatural thriller appears to avoid close-ups, and its cinematography employs a distinctive style reminiscent of a slight fish-eye lens. A family, The Paynes – Rebekah (Lucy Liu), Chris (Chris Sullivan), Chloe (Callina Liang), and Tyler (Eddy Maday) – move into the empty house shown at the beginning. The strained dynamic within The Payne family is immediately apparent. Rebekah is involved in financial fraud, while her husband Chris is considering separation or divorce. She favors her older son Tyler and his swimming abilities over her younger daughter Chloe, whom she largely ignores. Meanwhile, Chris worries about Chloe, who hasn’t recovered from the sudden death of her best friend. The idea of a horror or supernatural film told through the eyes of a ghost or entity is initially appealing, but the problem arises because this presence isn't given much to do beyond observing people having sex and arguing. Typical supernatural occurrences are present, such as doors opening and closing on their own, books floating into the air and neatly stacking themselves on a desk, and posters being ripped from the walls. The film begins with a scene depicting this entity wandering through an empty house before The Paynes arrive. This is initially fascinating but quickly becomes disorienting and even sickening, possibly representing the feeling of being trapped with no escape – though it isn’t particularly enjoyable to watch. Presence introduces Ryan (West Mulholland), who may be the most unpleasant character seen on screen this year. He's a popular classmate of Tyler and a drug dealer who becomes romantically involved with Chloe while attempting to appear nonchalant and supportive. His true nature surfaces early, as he frequently loses his temper and often rambles in a way that sounds like a villain explaining their evil plan to an unwilling listener. The film’s editing is peculiar, with many sequences feeling like single takes or abruptly cutting to black before the next scene begins. Presence feels assembled from disconnected scenes loosely connected to form a somewhat coherent narrative. The acting is adequate, but two of The Payne family members come across as unlikeable while the other two seem passive. This makes it difficult to become truly invested in their individual stories. The entity’s existence is deeply tied to grief and trauma, allowing those who have faced near-death experiences or significant trauma to potentially see or sense someone who has died. A medium is brought into The Payne's home after the family stops teasing Chloe about her encounters with the entity. This character serves mainly to confirm that Chloe isn’t imagining things and to highlight an item in their living room which will reappear in the final scene. Presence contains a unique concept rarely explored within its genre, featuring strikingly different cinematography and a talented cast that holds your attention. However, there aren't enough actual horror elements to make it frightening, and the family drama is largely unengaging except for the entity’s presence in their lives. Presence is an almost-but-not-quite thriller with unusual camera techniques and characters who frequently gaze slightly off to the left or right, contributing to its overall sense of mystery.

Source on TMDB