The camera is the ghost in Steven Soderbergh’s chillingly effective, experiential haunted house drama “Presence.”

Presence is a more delicate and nuanced haunted house movie that takes a more elevated route to horror as opposed to more gory ghost stories like 13 Ghosts or The Haunting in Connecticut. If you’re looking to watch something with fewer horrific images and jump scares while you wait to see Presence, check out these similar movies!

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

Steven Soderbergh often applies his brainy, process-based approach to new genres; with Presence, he tries his hand at ghost-story horror.

Doing his own camerawork, the director gleefully enriches the haunted-house genre with a simple but ingenious device.

“Presence” is a beautifully executed vision of a rather mediocre script. What makes it interesting is the POV “gimmick,” which Soderbergh demonstrates as a legitimate mode of cinematic storytelling. His camera movements take on such a human quality that we become emotionally connected to it as another character in the story.

Often the camera operator on his own films, the Oscar-winning director of "Traffic" had an idea for a first-person horror movie, one that required some stamina.

The actor joins Q’s Tom Power to discuss her starring role in Soderbergh’s new horror thriller, Presence, which tells a haunted house story from the point-of-view of the ghost.

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