{"id":1105236,"date":"2026-01-28T07:09:03","date_gmt":"2026-01-28T07:09:03","guid":{"rendered":"https:\/\/www.polygon.com\/?p=513947"},"modified":"2026-01-28T07:09:03","modified_gmt":"2026-01-28T07:09:03","slug":"found-footage-horror-reaches-its-final-form-in-steven-soderberghs-presence","status":"publish","type":"post","link":"https:\/\/arcader.org\/news\/found-footage-horror-reaches-its-final-form-in-steven-soderberghs-presence\/","title":{"rendered":"Found-footage horror reaches its final form in Steven Soderbergh\u2019s Presence"},"content":{"rendered":"<figure> <img decoding=\"async\" alt=\"\" data-caption=\"\" data-portal-copyright=\"Photo: Peter Andrews\/Neon via Everett Collection\" data-has-syndication-rights=\"1\" src=\"https:\/\/arcader.org\/wp-content\/uploads\/2025\/01\/found-footage-horror-reaches-its-final-form-in-steven-soderberghs-presence.jpg\" \/><figcaption><\/figcaption><\/figure>\n<p class=\"has-drop-cap has-text-align-none\">The blowout success of 1999\u2019s <em>The Blair Witch Project<\/em> really did a number on the horror genre. It wasn\u2019t the first faux-found-footage movie, or even the <a href=\"https:\/\/www.britannica.com\/art\/found-footage\">first found-footage horror movie<\/a>. But it landed during a period where handheld cameras were increasingly small and cheap, horror was becoming more popular and mainstream, and internet-based marketing let the creators target their ideal audience, effectively turning their film into viral creepypasta.<\/p>\n<p class=\"has-text-align-none\">Between its massive box-office success and the seeming ease of duplicating it cheaply, <em>The Blair Witch Project<\/em> <a href=\"https:\/\/www.polygon.com\/23591677\/found-footage-horror-dead-replaced-screenlife-immersive\">launched a fad for found-footage horror<\/a> that peaked and ebbed over the course of decades, and still occasionally resurfaces in projects like <a href=\"https:\/\/www.polygon.com\/23550409\/skinamarink-vs-blair-witch-project-horror-movie-tiktok\">2023\u2019s underground sensation <em>Skinamarink<\/em><\/a>. In Steven Soderbergh\u2019s hypnotic, minimalist ghost story <em>Presence<\/em>, though, the found-footage movie style may have found its final form.<\/p>\n<p class=\"has-text-align-none\"><em>Presence<\/em> centers on a haunting in a luxuriously modernized century-old home, newly occupied by a troubled family full of fault lines. Waifish teen daughter Chloe (Callina Liang) is reeling after the death of her best friend. Her smug, arrogant older brother Tyler (Eddy Maday) is unsympathetic; the family has just moved entirely so he can get into a better school district, where his swim-team stardom might take him further. Their parents, Rebekah (Lucy Liu) and Chris (Chris Sullivan) are at odds about everything, particularly how to deal with Chloe\u2019s depression and possible substance abuse, and how to moderate Rebekah\u2019s clear and absolute favoritism for Tyler. As they all navigate their own emotional trials, an invisible, intangible presence \u2014 represented by the camera \u2014&nbsp;stalks through the house, observing them all even in their most private moments.&nbsp;<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<div>\n<div><iframe loading=\"lazy\" title=\"PRESENCE - Official Trailer #2 - In Theaters January 24\" src=\"https:\/\/www.youtube.com\/embed\/Ay4MJZH6_K8?rel=0\" width=\"720\" height=\"405\" allowfullscreen allow=\"accelerometer; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share;\"><\/iframe><\/div>\n<\/div>\n<\/div>\n<\/figure>\n<p class=\"has-text-align-none\">Technically speaking, <em>Presence <\/em>isn\u2019t really a found-footage movie in the <em>Blair Witch Project<\/em> vein. There\u2019s no pretense that Soderbergh\u2019s first-person narrative is actual camera footage, let alone \u201clost\u201d camera footage unearthed sometime after the camera operator met a terrible fate. But everything about the movie plays within the visual style that came to be broadly known as found-footage horror: The audience sees the entire movie through Soderbergh\u2019s lens, representing the one witness that connects all the narrative threads.<\/p>\n<p class=\"has-text-align-none\">In this case, though, the camera isn\u2019t a jumpy, queasy handheld device, as in <em>The Blair Witch Project<\/em>, <em>Cloverfield<\/em>, or <em>Behind the Mask: The Rise of Leslie Vernon<\/em>. It isn\u2019t a series of sources like security systems or static cameras, as in <em>[REC]<\/em> or <em>Paranormal Activity<\/em>. It\u2019s a warmly lit, crisply realized eye moving through the story, gliding around the house and the new inhabitants with inhuman smoothness that gets across the alienness of the entity. <em>Presence<\/em>\u2019s entire premise<em> <\/em>is that the story is framed by a ghostly voyeur hovering over the cast, taking in their needs and fears, but initially unable to communicate its own.<\/p>\n<p class=\"has-text-align-none\">Soderbergh\u2019s approach taps into the found-footage horror idea of a story being experienced by whoever\u2019s behind the camera, except in this case, the question of who\u2019s behind the camera is part of the horror. From the start, Soderbergh and screenwriter David Koepp (who also wrote Soderbergh\u2019s simple, efficient 2022 action-thriller <em>Kimi<\/em>) imply that the presence is a ghost \u2014 but until the action fully plays out, the audience is left to wonder whether it\u2019s something else entirely, along with what it wants and how and whether it will eventually make its needs known. The filmmakers inevitably build in a few small jump scares, but for the most part, <em>Presence <\/em>is about low-key, slow-burn curiosity rather than lurking terror.<\/p>\n<p class=\"has-text-align-none\">For audiences expecting breathless tricks out of the usual found-footage horror playbook \u2014&nbsp;the kinds of barely glimpsed threats and dimly lit shocks a fast-moving, low-fidelity camera enables \u2014&nbsp;Soderbergh\u2019s approach may seem perverse. The house\u2019s bright, open airiness and richly appointed rooms make it seem like an unlikely and even ill-suited space for a haunting. There\u2019s no chance the camera will ever abruptly capture some unexpected, horrifying specter, because the camera <em>is<\/em> the specter.<\/p>\n<p class=\"has-text-align-none\">Where another story might have made the ghost\u2019s looming presence and intimate proximity to the characters into a constant eerie threat, <em>Presence<\/em>\u2019s ghost seems benign, even distanced. Like the lonely, faceless ghost in David Lowery\u2019s <em>A Ghost Story<\/em>, it seems&nbsp;either incapable of affecting the family, or uninterested. Until it isn\u2019t.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/arcader.org\/wp-content\/uploads\/2025\/01\/found-footage-horror-reaches-its-final-form-in-steven-soderberghs-presence-1.jpg\" alt=\"Chloe (Callina Liang), a forlorn-looking teenager, stands by a window in an unfurnished room and looks at the closet, where an unseen presence lurks in Presence\" title=\"Chloe (Callina Liang), a forlorn-looking teenager, stands by a window in an unfurnished room and looks at the closet, where an unseen presence lurks in Presence\" data-has-syndication-rights=\"1\" data-caption=\"\" data-portal-copyright=\"Photo: Peter Andrews\/The Spectral Spirit Company\" \/><\/p>\n<p class=\"has-text-align-none\">But the uniqueness of that approach is part of the appeal. <em>Presence<\/em> is more intellectual than visceral, more engaged with raising questions than pinning viewers to their seats. Which makes it feel like a more grown-up take on the found-footage movie. If <em>The Blair Witch <\/em>represented the subgenre\u2019s wiry adolescence, then format extensions like <em>Unfriended<\/em> and similar <a href=\"https:\/\/www.imdb.com\/news\/ni63921611\/\">screenlife horror movies<\/a> were its experimental young adulthood, and <em>Presence<\/em> is its full adult form.<\/p>\n<p class=\"has-text-align-none\">In growing up, though, the genre has lost a lot of its startling, engaging rawness and v\u00e9rit\u00e9 energy. <em>Presence <\/em>is more sedate, sophisticated, and polished than its found-footage predecessors, but it\u2019s also less emotionally engaging, in spite of its committed performances and the raw, aching feelings of grief, anger, resentment, and loneliness the central family is navigating. Bringing their story in at a slim 85 minutes, Soderbergh and Koepp don\u2019t give the premise or the format enough time to get predictable, but they also only rarely give their story a sense of urgency or excitement. It\u2019s found-footage horror as an intellectual exercise rather than a heart-racing emotional one.<\/p>\n<p class=\"has-text-align-none\">All of which suggests <em>Presence <\/em>is just one more in Soderbergh\u2019s endless line of cinematic experiments with form than it is a fad-launching phenomenon in the vein of <em>The Blair Witch Project<\/em>. This is one end stage for a still-evolving subgenre, not the beginning of a new one. For Soderbergh, who\u2019s always been interested in innovating and pushing movies to the next stage, then moving on, that\u2019s probably enough. For deep-in-the-weeds horror fans expecting a more familiar brand of scares, though, <em>Presence <\/em>may feel like an odd iteration on a familiar trope \u2014 something that feels more grown-up and more singular than all those increasingly samey racing-around-with-a-camera horror movies of decades past, but still not quite as much fun.<\/p>\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n<p class=\"has-text-align-none\">Presence<em> is in theaters now.<\/em><\/p>\n<p><a href=\"https:\/\/www.polygon.com\/horror\/513947\/presence-movie-review-soderbergh\">Source<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The blowout success of 1999\u2019s The Blair Witch Project really did a number on the horror genre. It wasn\u2019t the first faux-found-footage movie, or even the first found-footage horror movie. But it landed during a period where handheld cameras were increasingly small and cheap, horror was becoming more popular and mainstream, and internet-based marketing let the creators target their ideal audience, effectively turning their film into viral creepypasta. Between its massive box-office success and the seeming ease of duplicating it cheaply, The Blair Witch Project launched a fad for found-footage horror that peaked and ebbed over the course of decades, and still occasionally resurfaces in projects like 2023\u2019s underground sensation Skinamarink. In Steven Soderbergh\u2019s hypnotic, minimalist ghost story Presence, though, the found-footage movie style may&hellip;<\/p>\n<p class=\"excerpt-more\"><a class=\"blog-excerpt button\" href=\"https:\/\/arcader.org\/news\/found-footage-horror-reaches-its-final-form-in-steven-soderberghs-presence\/\">Read More&#8230;<\/a><\/p>\n","protected":false},"author":1,"featured_media":1105237,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-1105236","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-polygon"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Found-footage horror reaches its final form in Steven Soderbergh\u2019s Presence | Arcader News<\/title>\n<meta name=\"description\" content=\"The blowout success of 1999\u2019s The Blair Witch Project really did a number on the horror genre. 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