The prolific filmmaker turns a supernatural thriller into an experiment in first-person perspective and a dysfunctional family drama that'd make Eugene O'Neill cringe

Although it premiered at Sundance almost a year ago, Steven Soderbergh’s Presence is finally making its way to theaters, and audiences may well find

What makes “Presence” interesting is its point-of-view “gimmick.” It’s just the story that’s being told that’s somewhat hacky.

"I always operate the camera, but this was next level," the director says. "I’m really in there with the actors."