Ghost stories have long been a staple of entertainment, offering audiences a glimpse into the supernatural realm. The film “Presence,” directed by Steven Soderbergh and written by David Koepp, follows this tradition with a tale centered on a family moving into a new home. Starring Lucy Liu, Chris Sullivan, Callina Liang, and Eddy Maday, the story revolves around the family’s encounters with a mysterious presence in their new abode.
While “Presence” attempts to inject new life into the familiar ghost story trope, it ultimately treads well-worn paths. The film, produced by Neon Films, presents an average piece of entertainment that struggles to break free from the clichés that haunt the genre. Viewers expecting a typical horror flick akin to “The Conjuring” or “Insidious” may find themselves disappointed as “Presence” leans more towards a supernatural drama than a traditional scarefest.
One of the film’s notable aspects is its use of a first-person point-of-view technique, creating a unique perspective that immerses the audience in the ghost’s narrative. This approach, while innovative, may lose its novelty over time but adds a fresh dimension to the storytelling. Soderbergh’s direction and Koepp’s script prioritize character development over jump scares, delving into the family dynamics and personal struggles that resonate with viewers.
The performances in “Presence” are commendable, particularly Callina Liang’s portrayal of the complex and tormented character of Chloe. The film’s decision to focus on an Asian American family adds a refreshing layer of representation to the narrative, deviating from the conventional Caucasian-centric haunted house stories. Despite the film’s strengths in casting and representation, the characters themselves often fall into archetypal roles, offering little in terms of originality or depth.
From a technical standpoint, “Presence” is dimly lit to enhance its handheld and realistic aesthetic, though this choice sometimes hampers the visual storytelling. The film’s score by composer Zack Ryan and sound design elevate the tension, compensating for some of the script’s shortcomings. However, the twists and turns in the plot feel recycled, echoing Koepp’s previous works without the same impact.
Ultimately, “Presence” presents a mixed bag of familiar themes and fresh perspectives. While it may not revolutionize the ghost story genre, the film offers a glimpse into the lives of an Asian American family grappling with supernatural forces. Despite its shortcomings, “Presence” serves as a commendable effort in diversifying on-screen representation and exploring new storytelling techniques in the realm of supernatural cinema.
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