A family on the edge move into a haunted house where things for everyone only get worse.
A film that uses the bones or structure of a haunted house film to tell a family drama. Included are all the staples of haunted house movies from helpful mystics to things that go bump in the night, but the focus here isn't so much on scares than it is familial relations. The intent is to make a haunted house film that is rooted in real-life. The Ghost/camera acts as a voyeur, peeking in on moments meant for no human eye. In this way, Presence is great example into what film really is at it's core: a voyeuristic medium.
The Ghost itself isn't malicious. It appears to be lost, disoriented, confused, and lonely. It can't help but intrude on intimate moments out of what seems to be a sense of curiosity. That said, it still is subject to emotional, angry outbursts that startle but never scare. The Ghost is an empathetic presence, not a malevolent one.
The storytelling and film-making craft is to be mostly commended here. Unfortunately, the last 20 minutes undoes much of the good will this experimental flick had built up during it's first two acts. The mysteries introduced in the first act are given blunt, direct answers. Things are spelled out in obvious ways (feels like studio notes, perhaps), and one reveal in particular strains believability.
Presence sees Soderberg playing with the trappings and craft of filmmaking. It's not a bad film. It's flawed but interesting, and acts as a bit of a slow burn. While it's a good deal tense, the proceedings are rarely scary. Those looking for a horror film are bound to leave disappointed, even if Presence itself is well-made and mostly effective.
3 STARS
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