An experiment in shooting a movie entirely from a first-person Pov, Steven Soderbergh’s Presence has conceptual precedents but no meaningful ones in terms of the camera’s weight and the operator’s resulting physical relationship to it.
1947’s Lady in the Lake tried nonstop subjectivity with a bulky 35mm camera; 2009’s Enter the Void eliminated the embodied camera in its second half of weightless drifting.
More recently there’s Hardcore Henry, which strapped GoPros to its protagonist’s head for a bouncy embodiment of a stuntman’s hardest workday.
In Presence, Soderbergh’s longtime practice of acting as his own cinematographer and operator takes on an […]The post Sundance 2024: Presence, A Real Pain first appeared on Filmmaker Magazine.