In this era of streaming entertainment, viewers' criteria for what qualifies as a multiplex-worthy film has changed dramatically. Generally, the film should be a four-quadrant tan or an animated pipher friendly with family (preferably with a toy or video game) to pull people out of their houses. Comedies are no longer a safe game, nor are they looking at adults. Small -scale films are seen on the couch as a second screen deterrence. Horror movies, however, are usually an exception.

Whether they are great studio productions such as "nosferato", "quiet place: first day" and "Alien: Romul", or more modestly reduced Indian efforts such Mostly the younger variety) will appear at the opening weekend, provided the hook is a good bait. They do not need stars and certainly do not need an ecstatic word from critics (unfortunate); All they want are a few good scares, a nasty atmosphere and, if it's fierce trembling, smearing the abnormal kills.

Prestige is rarely considered when it comes to mainstream Moviegoers for the genre, so the fact that the highly valued Academy Award director, Steven Soderberg, has made his first official horror film in "presence". twenties (most of which were not even born when He won the best director of "traffic" in 2001). However, they will climb when they hear the hook: it's a haunted film film made from the point of view of the spirit - ie. The spirit is a camera. It is a concept of dynamite that releases someone's visual imagination, which is something that cannot be said about many films throughout the history of film.

What does that look like? How does this idea work within the conventionally structured narrative? Most importantly, if the audience is essentially a spirit, how do you generate scares?

The answer to the last question is, simply, you do not. And this is what makes the "presence" such an exciting singular experience.

The "presence" withdrew Soderberg with screenwriter David Kop, who wrote his exciting thriller in 2022 "Kimi". Koepp is best known as Blockbusters' A-Speller scraper like "Jurassic Park" and the upcoming "Jurassic World: Renaissance", " "Mission: Impossible" and "Spider-Man", but he is an intriguing choice for "presence" as he wrote and directed a great adaptation of the paranormal horror novel of Richard Mattson "Echo" in 1999. Now, now, that The film, in which the regular working class OEO (Kevin Bacon) is in contact with the spiritual kingdom after being hypnotized, was frightening; Indeed, it is probably responsible for preparing some kinefiles for something that is really frightening in "presence".

The plot of KAP focuses on a family of four children who are looking forward to moving to a new house after a vaguely tragedy tragedy requiring their daughter's best friend's lives. The mother, Rebecca (Lucy Liu), leads the play and rewards the house less for her significant two -story allure than her vicinity to high school with a first -class swimming team on which her son Tyler (Eddie Madaj) is likely to progress. She cares less about her daughter Chloe (Kalina Liang), who is awake in sadness, falls on her husband who places Chris (Chris Sullivan) to keep the entire family unit together-which is complicated by his research on A . Divorce in the light of Rebecca's involvement in the gray financial deal.

All this is extracted from the point of view of an unknown entity hovering all over the house and seems to be particularly interested in Chloe. Soderberg smartly puts the audience of the emotional wavelength of the spirit by expressing it, through its movements, feelings of iOsubocity, anger and fear. His safe space is Chloe's closet, which makes her blooming connection to Tyler's swim team, Buddy Ryan (West Mulolland). Ryan comes as an ideal boy; He respects Chloe's boundaries and requires her consent because they are making the way to sexual intimacy. But we can feel the energy of the spirit that it is skeptical about, if not hostile to Ryan.

If this sounds more daunting than frightening, it's according to Soderberg's design. The "presence" is not out to scare you. Narratively, it is a mystery that takes place in a conventionally structured way. What prevents him from feeling weird is the acute interest of the spirit of the family, which attracts us into this persecuted space in which they live. It is this quality that makes the "presence" a vital work work by a master director.

There is a legitimate fear in "presence" and arrives at a perfectly timed moment. There is also a good suspension built during a visit by a spiritual medium (Natalie Vulams-Tores), a scene that encounters any number of haunted films in the house (while injecting little lining into the procedures). But "presence" is more "ordinary people" Than the "Poltergeonist". It is a family that breaks up and leaves vulnerable to wicked, too much human force. There is almost no violence and of course there is no Gore, so what about the rating of R?

Like any drama about home turmoil, there are more than a few F-bombs that are thrown during the narrow time of the film, A-tapan 85-minute shelf life. And, we see that Chloe has sex with Ryan from the point of view of the closet. Overall, however, "presence" is a deep sad film. The only demons to be raised are those who buried deeply in the souls of every family member. If Moviegoers leave open to the sharp attention of the film details of the character and, of course, its formal, subjective camera, they will find a "presence" of experience, a kind that is best divided into the tinted theater with strangers who are their own spirits , because we are all persecuted.