At the time of the turning point, the “dignity” supernatural horror, the story of the past, the past has fallen off the way. These days, everything is a vicious entity that will climb your mouth so that you keep you with and you burn a wonderful smile, or Nicolas cage to burn the devil inside the doll of customized Play the glimmer rocker. (As if this is a part of this ‘Naxaster’!) We have the pleasure of Peshawar, Ghol, Veroviloz and Zombie. Monster all are horrible and gori, and everything is, Everything There is a theory for grief.
The cope writing is thorny and deepens deeply, as it looks like a surface wound, like a abrasive, unless it stops bleeding.
Happily, Steven Soderberg’s latest movie, “presence” returned to the basics. It is a classicly terrifying past movie that does not relieve the fear of jumps or metaphorical panic to unite viewers. With all these unnecessary fruits found in modern horror, the “presence” eliminates, which makes an unusual, but very easy, stylish device leaves its place: the camera is ghost.
Soderberg’s Ghost-Owen Faculty does not require learning curves. It is uncomfortable and significant. From the early glimpse of the suburbs, where the film is made, we can understand how the rest of the film will look and feel. This is not a trick or a trick. Rather, it is a clever way to make the audience feel like a voyer, and is rapidly listening to intimate conversation that we will not otherwise avoid. In your standard horror movie, the role (hopefully) will naturally speak so much that we will ignore the fact that we are watching a movie. In “presence”, we rarely have been allowed to forget that we are an interupur in the life of a family because they are gradually disconnected. But as the film is in technical form, this screenwriter is a script for David Coop, which makes “presence” a real draw. His writing is thorny and deepens deeply, as it looks like a abrasive, looks like a surface wound unless it refuses to bleed. Soderberg’s deep directing experience and coupling screenplay enables to promote “presence” as one of the most horrible horror dramas in recent memories, and after you leave the house with you There will be no sage or excusement enough to stop living.
But first, we have to cross the door of the front door. Or, in this case, a phenomenon in the bedroom above the sleeping room pulls out of the car’s sound out of the car. Someone is coming, and the journey below allows the audience to make a sense of home setting. We are inside a 100 -year -old, two -storey house with the latest equipment and wooden origin. All of these and more are soon as soon as the flight reeller cess (a criminal used Julia Fox, whose role is unfortunately, has a maximum comedy, despite its pre -released marketing. Will be identified. Otherwise suggesting), Who arrives just a few minutes before the family on which she is trying to take off the house. Rabaka (Lucy Liu), Chris (Chris Sullivan), and teenage young Tyler (Eddie Med) and Chloe (Kalina Liang) are just looking for a house. For Tyler to continue his university’s swimming career is in the right school district, and a new start for Chloe is enough, which has experienced an earthquake tragedy after losing a close friend.
You may be thinking, “huge, another grief,” but “presence” is not necessarily a sign of a problem. Seeing these entity is known whether let’s know about what is going on or not, so that every viewer makes a decision for himself as soon as the movie goes. Coops are not interested in presenting easy answers to this front, and the “presence” is the best. Instead of using a supernatural alphabet for the foolish weight of damage, the film stands in this load. Grief does not just affect the letters, it is slowly working in the lives of his entire family, when he separated them as soon as he retreats. In the “presence”, the sharp signs of communication between parents and their children are as clear and incomprehensible as any ghost.
Whether it is “infectious” or in “Anashin”, Soderberg’s formal experiences often serve as a stylish entry point for sharp cultural comments in a film script, and “presence” is no different. It has the director’s favorite angles and sophisticated qualities of the well -being, but in this movie, those signatures allow us to sit and watch because the two teenage young people are very rapidly. The coupus slowly eliminates the dynamic between the tile and the tyler, who are close to the age but are more different than maturity. They are minors in the modern world, where navit is a currency that buys unilateral tickets to eliminate their innocence. Alcohol, drugs and whatever hell young people reach online are all fair games.
But the film refuses to feel as a special after school with a supernatural turning point. Soderberg’s Ghost Camera is not here to preach, it is here to observe, and it is in the observations that the Coop develops a story that is both caution and honest. Rabba and Chris can barely force their children to communicate, as well. With all the effects of their two high schools, they have more pressure to marry. Chris is open and warm, while the rubbish is snowy and keeps his mind at work pressure. And when let’s begin to realize that someone, or anyone else, is watching him, his parents respond accordingly. Rabaka has denied let’s claims and insisted that he needs time to follow what happened to him. On the other hand, Chris may not stand that Rabba will not consider therapy for his daughter, and as a result, it becomes a physician.
Relationships and tylers cannot see and see the darkness, and their mopia can accept that it can gain a lot of forces.
When speaking just with past colleagues, let’s and feet, the “presence” collides with an amazing emotional advance. Chris Sullivan and Kalina Liang’s touching, reliable chemistry provides an emotional foundation for the film. After the presence of himself, after knowing about his entire family, the relationship closes, yet he is unable to help his daughter, and his loved one is attracted to the first -born tiler, whom he It is slowly encouraging despite poor behavior. But while sitting in the room, Chris told his daughter that he understands her and he believes in his views what is happening all over his heart. Love is so strong that it feels like they are adding something outside the thin air. Their mutual trust fills the room, and suddenly, it is very easy to feel as if we are imposing.
Soderberg’s camera slowly moves forward to forget the audience that he is an active part of his film, which allows every long, single shot to roam because if we are surveying home ourselves. This “presence” is part of the magic of Warnam. According to our knowledge, this ghost has no emotions. We do not know his past or his personality (even if it is). But as events end up and the details stack over each other, the audience is asked to present their emotions to this existence. How does it feel, what does he want to say? The choice depends on us. At other times, the camera moves forward and a set of stairs, and reminds the viewer that this spirit should be in the ground circle for some reason.
The most sensational part of “presence” is determining this. We see that matters are deepened, and as Rabba and Tyler attacked their home, they close themselves with chaos. They cannot and will not see it and will not, and their mopia can accept the fact that it has many forces that are more than themselves. The past itself is limited to how many times and how many times it may interfere, and when the coup raised its head in a thorny topic of choice and control, things become a bit more transparent, but not too soon.
The “presence” opens like a lightning mystery novel, which is asked to focus on the standing details between the letters. Although it is an economic film in every respect. Soderberg compels his audience to deliver exactly the same as it is to be open for the possibility of other circles as it would like to be trapped together, which is requested to be acknowledged. As the “presence” suggests, perhaps this disconnection is not different that we are already living.
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