Steven Soderbergh’s Presence Is a Stylish, Experimental Ghost Story
Steven Soderbergh never settles down.
The director, who helped fuel the independent film revolution in the 1990s before hitting it big with the Ocean’s 11 films, has always treated filmmaking as an entrepreneurial proposition, innovating not only in terms of technology—he was one of the first major filmmakers to adopt digital video—but also financing and distribution, with quasi-experimental films like Bubble, one of the earliest movies to get a simultaneous theatrical and home streaming release.Â
He’s also restless to the point of comedy: Since announcing his “retirement” in 2013, he’s directed at least one TV show and nearly a dozen feature films, several of which have an experimental element.Â
His latest, Presence, is mostly an exercise in style and technique: It’s a ghost story told from the point of view of the ghost—as in literal point of view (POV), like in a first-person video game. Every scene is captured in a single, long, continuous, flowing camera movement, held at eye level, representing what the ghost is “seeing.” It’s like watching 85 minutes of GoPro footage from the afterlife. As a formal exercise, it mostly works. As a drama, it doesn’t live up to its potential.Â
The story tracks the domestic troubles of a suburban family who moves into a beautiful old house.
Article from Reason.com
The Reason Magazine website is a go-to destination for libertarians seeking cogent analysis, investigative reporting, and thought-provoking commentary. Championing the principles of individual freedom, limited government, and free markets, the site offers a diverse range of articles, videos, and podcasts that challenge conventional wisdom and advocate for libertarian solutions. Whether you’re interested in politics, culture, or technology, Reason provides a unique lens that prioritizes liberty and rational discourse. It’s an essential resource for those who value critical thinking and nuanced debate in the pursuit of a freer society.
