The writer Christopher Isherwood put it this way, in his novel “Goodbye to Berlin”: “I am a camera with its shutter open, quite passive, recording, not thinking.” The not-thinking part may not apply,

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

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

The entire film is shot entirely from the ghost's point of view, the audience haunting a family that has recently moved into a New Jersey home, not realizing that something was already living there. Critic Sean Burns says it's a great gimmick,