Starring: Lucy Liu, Chris Sullivan, Callina Liang, West Mulholland, Eddie Maday, Julia Fox
Distributor: Rialto Distribution
Runtime: 85 mins. Reviewed in Feb 2025
Reviewer: Fr Peter Malone msc
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A family becomes convinced they are not alone after moving into their new home in the suburbs.
An eerie opening. The camera roams through a large dark and empty house – its many rooms, staircases, gazing out the windows, the eye of the camera seeming to be the Presence. And this continues even in daylight when a family of four arrives to look at the house in order to move in. The style of the roving camera also suggests something of paranormal activity. And, quietly, even minimally at first, there is something paranormal.
However, the drama is focused on the family. The mother Rebekah (Liu) is a businesswoman, always looking at her phone, brisk and decision-oriented. Her husband Chris (Sullivan) leaves the decisions to his wife, though is suspicious of some shady aspects of her business. He is devoted to his children. The son Tyler (Maday) keeps his eyes on his phone, is petulant towards his sister and is his mother’s favourite. The daughter Chloe (Liang) is a somewhat introspective teenager, upset at two deaths of girlfriends at her school. She is the first to notice strange disturbances in her room.
Soderbergh has been making all kinds of films for 35 years, from big budget such as the Ocean’s series to many experimental movies like this one, which was filmed in three weeks within the confines of the house. Soderbergh acted as cinematographer and editor (using nom de plumes). The screenplay is by David Koepp, better known for big budget screenplays. This film is presented in what it might be called short chapters, a particular focus, an incident, a conversation – and then fading to black.
The important thing about Presence is suggestion rather than dramatics. For those who are interested in family dramas, there are interesting sequences of family dynamics, especially where the father explains to his daughter his own difficulties in relating to his mother. But, there is also another character, the son’s friend who comes to visit, rather casual in his approach, but eventually taking a liking to the daughter, becoming involved in sexual activity, causing stress to the girl.
There are moments of paranormal activity, puzzling, the camera quivering, but all the time the observing – a presence. There is an unexpected and disturbing development towards the end of the film.
For the impatient audience, the process will seem too slow. For audiences who take the film as it comes, adjusting to its pace, interested in its themes and characterisations, Soderbergh’s film and style can be intriguing.
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