Pop Culture Happy Hour: "Presence" Episode Summary

Introduction

In the January 28, 2025 episode of NPR's Pop Culture Happy Hour, hosts Glenn Weldon and Linda Holmes delve into Steven Soderbergh's latest film, "Presence." Joined by writer and critic Walter Chow, the trio explores the film's themes, technical execution, narrative structure, and cultural implications. This detailed discussion provides listeners with a comprehensive understanding of the movie, blending critical analysis with engaging conversation.

Plot Overview

Presence centers on a traditional haunted house narrative where a family relocates to an old, seemingly empty house, only to experience strange and eerie occurrences. However, Soderbergh introduces a unique twist: the story is narrated from the perspective of the ghost inhabiting the house. The family consists of:

• Mother: Portrayed by Lucy Liu, she is depicted as driven and hard-edged.
• Father: Played by Chris Sullivan, he is characterized as feckless and soft.
• Son: Eddie Mayday embodies the role of a jock bully who befriends the popular boy, West Mulholland.
• Daughter: Kalina Liang’s character, Chloe, is quiet and introspective, grappling with the recent death of a friend.

Glenn Weldon introduces the film by stating, “In Presence, we are the ones haunting the house” ([00:33]). This perspective sets the stage for a narrative that unfolds through the ghost's eyes, offering a fresh take on the haunted house trope.

Technical and Artistic Elements

Linda Holmes praises the film's technical prowess, particularly its cinematography and sound design. She explains, “The way that it's made, the way that it's shot... you see through this presence's eyes as it moves through the house” ([03:24]). Holmes appreciates the film’s use of POV shots and the strategic lack of a traditional score, which enhances the unsettling atmosphere.

The discussion highlights Soderbergh’s experimental approach:

• Cinematography: The use of lenses creates an off-kilter visual experience, reminiscent of the Blair Witch Project. Holmes remarks, “I have some interesting work with lenses here that just makes the picture a little bit more off kilter” ([04:10]).
• Sound Design: The minimalistic score and abundant quiet moments contribute to the film’s eerie vibe, allowing the visuals to take center stage.
• Single-Shot Scenes: Each segment of the film is treated as a single shot, ending abruptly with cuts to black before seamlessly transitioning to the next scene. Holmes compares this to a series of interconnected vignettes.

Script and Storytelling

Walter Chow provides a critical perspective on the screenplay, written by David Koepp. He describes the script as “quotidian” and “really dull,” feeling that the innovative visual techniques were employed in service of a lackluster narrative ([05:23]). Chow draws parallels to Koepp’s previous works, labeling him a “journeyman” of screenwriting—reliable yet sometimes uninspired.

Glenn Weldon echoes some of Chow’s sentiments, noting a disconnect between the film’s experimental style and its storytelling: “It starts with a mystery... and then resolves in a kind of pulpy genre way” ([07:35]). This shift from an artsy, character-driven study to a more conventional thriller leaves audiences potentially unsatisfied, as the initial promise of an esoteric narrative evolves into familiar horror tropes.

Representation and Casting

A significant portion of the discussion focuses on the cultural implications of casting Lucy Liu as the mother. Walter Chow voices concerns about stereotyping, stating, “I have issues with the mother being Asian and being that stereotype of a dragon lady” ([12:57]). He critiques the character's portrayal as a “tiger mom” who prioritizes academic success, suggesting that it perpetuates harmful stereotypes.

Linda Holmes expands on this, acknowledging the contextual differences that casting brings: “It's like you cannot opt out of context... you may not have made the thing you thought you were making because you didn't cast Julia Garner” ([09:47]). She emphasizes the importance of thoughtful casting to avoid diminished character depth and reliance on cultural clichés.

POV Narrative in Film

The trio delves into the challenges and merits of using a first-person POV narrative in filmmaking. Glenn Weldon appreciates the innovative approach but notes its limitations: “With POV, you never get the reverse shot... the limitation is you never get it” ([11:21]). He explains that while POV can be immersive, it restricts the audience’s ability to see characters’ reactions and broader environmental context.

Walter Chow compares Presence to classic POV films like Lady in the Lake (1947) and contemporary experiments, arguing that Presence doesn't fully capitalize on the potential of its POV gimmick: “It's revolutionary technically... but has datedness to the script” ([19:16]). They agree that while Soderbergh’s technical experimentation is commendable, it sometimes overshadows the narrative strength.

Overall Impressions

The hosts and guest express mixed feelings about Presence. Linda Holmes admires the directorial and cinematographic elements but feels the script falls short of its potential: “I’m not convinced that I like the script, but I think the script is fine” ([09:24]).

Walter Chow concurs, appreciating the film as an experiment but ultimately deeming it a “failed film” in terms of genre execution ([07:35]). He suggests that the film might have benefited more as a short film or an entirely experimental piece rather than a feature-length horror thriller.

Glenn Weldon maintains a balanced stance, recognizing the film’s technical achievements while expressing disappointment in its narrative resolution: “I went into this hoping for it to be a different kind of artsy, fartsier film than it turns out to be” ([07:35]).

Conclusion

Presence emerges as a technically ambitious film that pushes the boundaries of POV storytelling in horror. While Steven Soderbergh's direction and innovative cinematography receive commendation, the film's narrative and character development reveal shortcomings, particularly in avoiding stereotypical representations and maintaining an engaging storyline. The discussion among Glenn Weldon, Linda Holmes, and Walter Chow offers a nuanced critique, highlighting the delicate balance between experimental film techniques and compelling storytelling. For fans of Soderbergh and those intrigued by unique narrative perspectives, Presence presents an interesting, albeit imperfect, cinematic experience.

Notable Quotes

• Glenn Weldon [00:33]: “In Presence, we are the ones haunting the house.”
• Linda Holmes [03:24]: “You see through this presence's eyes as it moves through the house... a little more off kilter.”
• Walter Chow [05:23]: “The script is so quotidian. It's so, like, really dull.”
• Linda Holmes [09:47]: “You cannot opt out of context... you may not have made the thing you thought you were making because you didn't cast Julia Garner.”
• Glenn Weldon [11:21]: “With POV, you never get the reverse shot... the limitation is you never get it.”
• Walter Chow [19:16]: “It's revolutionary technically... but has datedness to the script.”

Final Thoughts

This episode of Pop Culture Happy Hour offers a thorough examination of Presence, balancing praise for its technical innovations with critical insights into its narrative execution and cultural representation. Whether you're a fan of Soderbergh or interested in the dynamics of POV storytelling, this discussion provides valuable perspectives to consider.