Neon is an independent film production and distribution company that has delivered hit after hit this past year: Longlegs, Anora, The Monkey and Cuckoo are a few of my favorites. If Neon’s name is attached to a film, I will see it. So, when Neon acquired the supernatural-based movie, Presence, after its Sundance premiere in January 2024, it was immediately on my radar.
Marketing for this film started in late 2024, aiming for a January 2025 release. Unfortunately, like Longlegs, Presence fell victim to misleading marketing and a poor box-office performance. After the marketing fiasco that was Companion, I am learning not to rely too heavily on trailers or taglines. However, I will give the Neon marketing team the benefit of the doubt, because this movie is unlike anything I’ve seen before.
Despite feeling misled, I generally love Neon for its fun marketing tie-ins. Longlegs is the best example, showcasing symbols paired with a code you could decipher and a phone number to call and hear Longlegs speak. For Presence, public advertising in New York City promoted the film’s real-estate agent, Cece, played by Julia Fox. How fun!
However, the marketing also asserted that this is the “scariest movie you’ll see this year,” similar to Longlegs. While I find Longlegs to be a scary film, Presence is not. Yet, its themes and elements of grief, trauma and family disintegration are frightening enough on their own. So, while this may not be the jump-scare supernatural horror movie most people anticipated, I, as a horror fan, would categorize it as a horror-adjacent family drama.
Director Steven Soderbergh is an Academy Award winner often called “a pioneer of modern independent cinema.” He has directed quite the repertoire of films, including the Ocean’s franchise (2001-2018), Erin Brockovich (2000) and Magic Mike (2012). David Koepp wrote the script, who is known for writing Jurassic Park (1993) and Indiana Jones and the Kingdom of the Crystal Skull (2008). Regarding the horror genre, Koepp wrote the screenplays for Stir of Echoes (1999) and Secret Window (2004). What a cornucopia of genres under these filmmaker’s belts to tackle an idea such as Presence!
The movie follows a family who buys a home from Cece (I was disappointed this was the only time we see Julia Fox’s character). Rebecca (Lucy Liu) and Chris (Chris Sullivan) have two children who are in high school: Chloe (Callina Liang) and Tyler (Eddy Maday). Chloe has recently lost her best friend, who allegedly died in her sleep. She is withdrawn and grieving. Tyler is apparently the mother’s favorite child, who is an accomplished swimmer.
We see the everyday lives of this family through a first-person viewer: the supernatural presence. It’s an incredibly intriguing and experimental way of shooting a film that drew me in. I love this idea of a ghost roaming around the house, seeing and hearing the different dynamics of the family. We learn about each character in a way that feels intrusive; I found that to be a very cool technique. The presence, or ghost, also interacts with the family through moving things or in more destructive ways.
I like how Soderbergh created that element of movie magic.
The performances are solid by everyone involved. No one stood out for me, excelling in any way. I want to point out Tyler’s friend, Ryan, played by West Mulholland. This young man plays a cringey teenage boy to the extreme and is so unlikeable you almost can’t stand him. In that regard, he did his job very well! Some of his dialogue is cheesy, but that’s typical for a teenage boy.
While this may not be a straightforward horror film, I love the experimental factors, reminding me of movies from previous years like Skinamarink (2022) and The Outwaters (2022), both highly experimental within the horror genre. It is thrilling how directors and cinematographers play with these different avenues of creation to give viewers a different perspective. I love supernatural movies, shows and books, so seeing a fresh take on the trope is exciting.
While experimental films often attract less interest from audiences, taking this risk can be worthwhile. I commend anyone willing to try a new technique. It also helped keep the single-location shots fresh, without going stale during the runtime. Another win!
What surprised me most was how much I enjoyed Zack Ryan’s score for the film. With a strong background in television composition, Ryan delivers a score that exceeded my expectations. The music caught me off guard, because it wasn’t featured in any of the trailers, leaving me unprepared for its significant impact.
The score masterfully infuses an unsettling and dark tension into the unfolding family drama, amplifying the emotional nuances of the narrative. If I were to hear it again now, the haunting melodies would evoke an immediate sense of sadness.
The story revolves around a family in turmoil, where the parents are at odds, the daughter is left to navigate her grief in isolation, and the son exhibits arrogance and rudeness. These emotional threads are underscored by Ryan’s music, which acts as a potent catalyst for the feelings conjured throughout the film. The depth of the score truly captures the essence of their struggles, enveloping the audience in the raw, poignant emotions.
Presence unfolds gradually, revealing its layers over time, and this approach may not resonate with every viewer. One aspect I found challenging to comprehend was the origin of the ghostly presence at the film’s core. While I won’t delve into specifics to honor those who haven’t seen it, the lore associated with this presence struck me as somewhat implausible and stretched the boundaries of believability.
Nevertheless, the film profoundly impacted me in ways I didn’t anticipate. The climactic final act delivered an emotional blow, a visceral gut punch that has continued to echo in my thoughts long after the credits rolled. I was taken aback by how this movie affected me, and I hold a newfound respect for its ability to elicit such strong emotions.
Overall, Presence gets a solid three out of five stars. The film showcases a commendable level of creativity and offers a unique direction that sets it apart from many mainstream offerings. However, while I appreciate its artistic vision, I will unlikely revisit it.
I recommend checking it out when it becomes available on a streaming service; it’s worth a first watch. The film’s deliberate slow pace could deter some viewers; it requires patience to appreciate its unfolding narrative and thematic depth. If you’re willing to invest the time and trust the process, Presence can be a rewarding experience and a worthwhile addition to your watchlist.