Presence (2025) is directed by Steven Soderbergh and written by David Koepp. It stars Callina Liang, Chris Sullivan, Lucy Liu, Eddy Maday, West Mulholland, Julia Fox, Lucas Papaelias, and Natalie Woolams-Torres. The film follows a family of four who move into a new home in the suburbs after their teenage daughter, Chloe (Liang), suffers the loss of two of her closest friends. When strange events start to occur, Chloe begins to suspect that their new home may harbor a supernatural presence. Chalking it up to some kind of psychological trauma, the family initially ignores Chole’s warnings until they are warned of an approaching evil with violent intent. Still unsure if what they’re experiencing is actually real, the family finds that their only option is to wait and see. Are they on a crash course with evil, or is it all just in their heads?

Although none of the characters are particularly likable throughout the first half, they all receive satisfying arcs that either redeem them or help us better understand their often dickish behavior. On top of this, it’s easy to forgive their more contemptible behaviors considering that they genuinely feel like real people. They’re often assholes to one another, but never in a way that feels disingenuous. I nearly screamed at these characters to be nicer to one another (which isn’t particularly pleasant), but the experience was ultimately worth it due to how effectively it all ties together in the end. It’s sometimes challenging to watch, but it leads to something that’s genuinely cathartic. In other words, the film works better as a whole as opposed to a moment-to-moment experience – something that sticks with you instead of thrilling you momentarily. I prefer a film that works on both levels, but if I had to choose one, I’d rather have it work as a holistic piece of art.

The film features a simple script containing a number of familiar haunted house tropes, but this simplicity works because the haunting/ghosts are primarily used as effective distractions/”red herrings” to the real dangers the family ultimately faces. It’s primarily devoid of any scares for most of the runtime, but this is all in service of disarming the viewer for its uncommonly chilling climax. It’s a climax/twist we’ve seen before, but the execution is what stands out. My only minor issue with the climax is that the script signals the twist/reveal about 5-10 minutes too early. Another layer eventually added makes the whole thing significantly more chilling, but I still think it would’ve worked even better if it held a bit more shock factor. That being said, this is still one of the more chilling climaxes I’ve seen in years. It’s well-executed but also unexpectedly grounded in the most upsetting ways. On top of this, West Mulholland delivers one of the most effective but sure-to-be-overlooked performances so far this year. 

The film is also highly effective in its use of space and perspective. The story takes place within one house and is shown entirely from the perspective of a spirit that haunts it. Again, although it isn’t the most groundbreaking technique, it creates a chilling supernatural atmosphere but also effectively distracts from the real-life dangers that should otherwise feel obvious. Even if a person feels it doesn’t add much to the experience, it also doesn’t sacrifice anything. Just like what you’d see in a typically shot film, the ghost mainly acts as an invisible perspective. This allows the film to maintain an accessible sense of visual storytelling, avoid the more problematic aspects of first-person storytelling, and ultimately implement its perspective to full effect.  

This is the definition of slow-burn horror, but it’s a great example of the subgenre. I’m not surprised that critics and audiences are incredibly split on this one. If the script’s subtle manipulation of genre expectations isn’t enough to float your boat, you’ll probably just find this to be a by-the-numbers haunted house spook fest. If you have what I call “taste,” it’ll be tough not to appreciate the tight script, believable performances, and blood-curdling climax. Soderbergh is one of Hollywood’s most experienced and consistent directors, and in my opinion, only getting better with age. I can’t wait to see what he and Koepp have cooked up with their next film, Black Bag (2025). B