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 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,

“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.