Presence has the sort of irresis­t­ible premise only Steven Soderbergh, 62, could come up with: a ghost story shot from the point of view of the ghost. Like Polanski via Peep Show, it centers on an invis­ible ethereal something-or-other whose handsome old subur­ban house has just been bought by a troubled ­middle-class family, led by Lucy Liu’s overbearing ­matriarch. An increasingly sinister drama unfolds, which the audience watches from the ­specter’s perspective. The intensity and creepiness of Presence’s drifting first-person viewpoint is Soderbergh’s own handi­work. He shot the film in three weeks, under his usual cinematographer pseudonym Peter Andrews, while wearing the quietest pair of slippers he could find. The biggest technical challenge, he explains, “was moving between floors while shooting without falling up or down the stairs.” The second biggest was handled by his screenwriter, David Koepp, the brains behind such classic 1990s studio pictures as Jurassic Park, the first Mission: Impossible and Carlito’s Way. “I knew that at the end of the film we were going to have to come correct and reveal who the presence is,” Soderbergh says. “But David surprised me. He did not pick who I thought he was going to pick.” Presence is the second part of a three-film collaboration, following 2022’s Kimi. The third, due in March, is the London-set spy thriller Black Bag, in which Michael Fassbender and Cate Blanchett star as married secret agents, the latter of whom becomes suspected of treason, stretching the former’s loyalties to snapping point. —Robbie Collin