Steven Soderbergh, Presence
Lucy Liu & Chris Sullivan discuss working with Steven Soderbergh on the horror film 'Presence' (and his great series 'The Knick'), and compare his process with Quentin Tarantino's.
The camera is the ghost in Steven Soderbergh’s chillingly effective, experiential haunted house drama “Presence.”
In his nomadic career, Soderbergh has been a big-screen name happy to work for Netflix and HBO. Presence, though, is clearly made to be watched in the cinema, with a crowd, preferably while being under 19.
The intimate supernatural drama stars Lucy Liu and Chris Sullivan as homeowners with an unexpected houseguest. With Presence, Steven Soderbergh Resurrects the Ghost Story: Review
“Presence” is a beautifully executed vision of a rather mediocre script. What makes it interesting is the POV “gimmick,” which Soderbergh demonstrates as a legitimate mode of cinematic storytelling. His camera movements take on such a human quality that we become emotionally connected to it as another character in the story.
Steven Soderbergh's "Presence" is an unconventional haunted house story told from the perspective of the ghost -- and we've got the details.
"I always operate the camera, but this was next level," the director says. "I’m really in there with the actors."
Neon released the final trailer for "Presence" on Monday. Lucy Liu and Chris Sullivan star in Steven Soderbergh's horror movie.
"Presence" is the kind of movie mindbender that sneaks up on you and leaves you thinking long after it's over, according to film critic.
At this point, it becomes apparent that he had been the ghost all along. When the family had previously sought out the help of a psychic medium, she had told them that time works differently for spirits, and so it seems that ghost Tyler has essentially gone back in time to prevent his sister from being abused and murdered by Ryan.
Horror fans feasted well in 2024 with the year capped off by the release of Nosferatu (even if UK viewers had to wait until New Year's Day), and we haven't had to wait too long for the first stand-out horror of 2025.