Presence is a horror movie filmed from an entirely different perspective than typical.
The movie opens with an empty house, cameras pan around from the perspective of what viewers are confused about at first, but turns out to be a spirit living in the home. The family viewing the home is interracial; mom and her two kids, Tyler and Chloe, are Asian, while the husband, Chris, is caucasian. They find the home charming and decide to call it their own.
The camera moves around the whole house, following anyone who enters, but always retreats to the closet in the daughter's room at the end of the night. From the beginning, there was a sense of spirit in that room, causing even the construction team, called to paint the house distressed upon entering what would be Chloe's room.
A couple and their children move into a seemingly normal suburban home. When strange events occur, they begin to believe there is something else in the house with them. The presence is about to disrupt their lives in unimaginable ways.
So. You’ve been quarantined. For many of us in the midst of the coronavirus outbreak, we find ourselves locked in our houses, with not much to do. Here's a list of 19 movies you can catch up on!
"Beef" is a new dark comedy with a near entire Asian-American cast
Of the 28 total films I watched, just six of them were queer or featured queer characters in some way.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.
In Spike Lee’s She’s Gotta Have It (1986), we follow the love life of powerful female protagonist Nola Darling (Tracy Camilla Johns) and explore the relationship dynamics she has with her partners. She sees three men simultaneously: Greer Childs, (John Canada Terrell) Mars Blackmon (Spike Lee), and Jamie Overstreet (Tommy Redmond Hicks). Though an 80’s film, She’s Gotta Have It is surprisingly progressive with its themes of female sexuality, although at some points in the film it is handled clumsily. Overall Nola is an incredibly compelling character especially for modern women, as we as a society acknowledge female sensuality more and more without the negative stigma.
A quiet film that does not demand your tears but earns them. It explores love that lingers, timing that fails, and the silence between what was and what could have been.
