Presence, Steven Soderbergh
Over the course of his nearly four-decade career, Steven Soderbergh has just about done it all—including, now, made a horror film. Presence is a ghost story like no other, assuming the first-person perspective of a specter that haunts a suburban clan that’s moved into its residence.
Steven Soderbergh’s directorial credits include Erin Brockovich, Traffic, Ocean’s Eleven, and Magic Mike. His latest, Presence, is a supernatural thriller shot entirely in the first-person perspective using a Sony Alpha 9 III mirrorless camera.
Doing his own camerawork, the director gleefully enriches the haunted-house genre with a simple but ingenious device.
Although it premiered at Sundance almost a year ago, Steven Soderbergh’s Presence is finally making its way to theaters, and audiences may well find
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David Lynch, the peerless director behind such masterpieces as Eraserhead, Blue Velvet, Wild at Heart, Twin Peaks, and Mulholland Drive, was one of cinema’s all-time greats, a unique visionary whose dark and surreal films were the stuff of both unsettling dreams and sumptuous nightmares.
While Soderbergh is known best for his films in the 1990s and 2000s like “Sex, Lies, and Videotape,” the “Ocean’s Eleven” trilogy and “Out of Sight,” his recent output has been fascinating and boundary-pushing in terms of style and storytelling,
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“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.
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Callina Liang, Eddy Maday, and West Mulholland are the young stars of 'Presence,' and discuss making the haunting film and the strange direction from Steven Soderbergh.