By Nicholas Porteous
We open on a particularly bland overhead shot as a car pulls into a driveway. It’s a reserved choice to serve as the opening for Steven Soderbergh‘s latest–but wait. The camera twists and turns and hovers down the stairs, revealing an empty house and an anxious realtor (Julia Fox–be warned: this is her only scene). There’s clearly something more to this strange, drifting perspective. Indeed, there’s a Presence in this house. A ghost. And for whatever reason, among the family of new occupants in this otherwise lovely abode, their young daughter Blue (captivating newcomer Callina Liang) shares some kind of connection with the spirit.
What follows is entirely from the ghost’s perspective, and it turns out to be a fantastic parameter for Soderbergh to play within. How does a non-speaking entity reveal its motivations? What kind of phantom are we dealing with here? And how will a family contend with the unknown force? You won’t hear another word about the plot from me, but if you’re looking for a good little ghost story, you’ve come to the right place. Presence is another small-scale, experimental gem from Soderbergh that moves at a clip and kept me intrigued–both as a narrative and as a technical act of storytelling–for its lean, 85-minute runtime.
David Koepp‘s Screenplay is occasionally guilty of tripping over the line into schlock and cheese, which plays at odds with Soderbergh’s relatively naturalistic approach. But all in all, Presence is a brilliant blend of family dramedy and supernatural suspense, anchored by a strong ensemble–featuring Lucy Liu and Chris Sullivan as spiritually discordant parents–that imbues the camera with a perfectly calibrated sense of fear and wonder. Presence could be considered a minor work from a master Filmmaker, but its slender format and otherworldly themes have staying power. Don’t let this one pass you by.
Presence screens at TIFF ’24:
Friday, September 13 at 6:15 PM at The Princess of Wales Theatre
Saturday, September 14 at 7:45 PM at Scotiabank Theatre
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