In the end, Presence is a remarkable union of a clever concept and a superb execution. In the wrong hands, fumbled or flashy camerawork could have crushed the character building of the ghost.

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Soderbergh carefully allows the camera-ghost to become a character at exactly the right times; otherwise, he lets the concept rest and relies on the movie’s fantastic script and family drama.

As with many ghost stories, the presence in “Presence ... I was struck by the voyeuristic concept and how it makes it feel more real,” Koepp says. “You’re really a fly on the wall.

As such, it’s implied Tyler’s ghost went back in time to prevent her sister’s death. This idea opens up a whole bunch of paradoxical loop holes, but it basically serves as a redemption arc ...

Instead, the uncanny shapes draw out ghost stories of the viewer’s own ... who described the purely decorative as “the only art of sin” in a 1970 interview. Morris attempts to maintain ...

What could be a typical scary movie is elevated by the aesthetic choice to tell the story from the ghost’s point-of-view, so you see it drifting around the house, listening in on conversations ...

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