Steven Soderbergh’s directorial credits include Erin Brockovich, Traffic, Ocean’s Eleven, and Magic Mike. His latest, Presence, is a supernatural thriller shot entirely in the first-person perspective using a Sony Alpha 9 III mirrorless camera.

Over the course of his nearly four-decade career, Steven Soderbergh has just about done it all—including, now, made a horror film. Presence is a ghost story like no other, assuming the first-person perspective of a specter that haunts a suburban clan that’s moved into its residence.

Presence holds its audience close with a nifty conceit in which Soderbergh is the eyes and ears of those watching and of his cast. May the adventurous, restless filmmaker keep on tinkering

Someone Saved My Life,' a new Preston Oliver-led indie from filmmaker Angelo Pizzo, has wrapped production in Indiana.

Steven Soderbergh’s Presence is a ghostly experiment in storytelling that’s eerie and ambitious but struggles to deliver fully.

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.

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

Steven Soderbergh releases 2024 watch list, which includes viewings of multiple 'Star Wars' films, new releases, old classics, and more.

“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.

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

While Soderbergh is known best for his films in the 1990s and 2000s like “Sex, Lies, and Videotape,” the “Ocean’s Eleven” trilogy and “Out of Sight,” his recent output has been fascinating and boundary-pushing in terms of style and storytelling,