A Hauntingly Half-Baked Horror

Steven Soderbergh’s 2024 supernatural horror film Presence brings a novel viewpoint to the genre, but unfortunately, its execution leaves much to be desired. The film, written by David Koepp, centres around a family who becomes convinced they are not alone after moving into their new suburban home. While the premise holds promise, the single camera point of view of the spirit haunting the family ultimately fails to heighten the film’s narrative or engage the audience in the story.

From the onset, the unique perspective provides an interesting twist. Seeing the world through the eyes of the spirit is initially intriguing, offering a fresh take on the haunted house trope. However, this approach quickly becomes repetitive and monotonous. The lack of variation in the camera work results in a sense of detachment from the characters and their experiences. The audience is left as passive observers, unable to fully immerse themselves in the unfolding terror.

The film’s narrative suffers from this detachment. The single camera viewpoint does little to advance the plot or deepen the mystery surrounding the haunting. We learn very little about the spirit itself, its motivations, or its history. This omission leaves the audience with more questions than answers, and not in a way that heightens suspense. Instead, it feels like a missed opportunity to explore the entity’s backstory and create a more compelling antagonist.

In comparison, The Others (2001),  directed by Alejandro Amenábar, also employs a unique perspective to engage its viewers. The film centres around a mother and her two children who live in a dark, old house and begin to experience strange occurrences. Unlike Presence, The Others successfully uses its atmospheric setting and suspenseful storytelling to create a sense of dread and mystery. The film’s narrative is well-paced, and the characters are fully developed, allowing the audience to connect with their fears and emotions. The twist ending is both surprising and satisfying, adding depth to the story and leaving a lasting impression on viewers.

In Presence, the family’s interactions and growing fear are undermined by the limited perspective. The emotional weight of their situation is dulled, as we are not privy to their moments or the nuances of their relationships. The result is a story that feels shallow and one-dimensional, lacking the depth and complexity that could have made the characters’ plight more relatable and the horror more palpable.

Soderbergh’s directorial prowess is evident in the technical aspects of the film. The use of lighting and sound design effectively creates an eerie atmosphere, and there are moments of genuine tension. However, these elements are not enough to compensate for the shortcomings of the narrative structure. The film’s pacing also suffers, with long stretches of uneventful scenes that fail to build momentum or maintain viewer interest.

Presence attempts to innovate within the supernatural horror genre, but its reliance on a single camera point of view proves to be more of a hindrance than a strength. The concept, while novel, falls short in terms of storytelling and character development. The audience is left with a sense of detachment rather than engagement, and the film ultimately fails to deliver a satisfying or memorable horror experience.

Now showing in a cinema near you.

-Dirk Lombard Fourie