Presence

Soderbergh shoots the entire film from the ghost's point of view, handheld, in long unbroken takes, and it works.

A family moves into a suburban house. The camera is the presence: it drifts through rooms, hides in a wardrobe, moves toward people and retreats, and every cut is a scene break rather than a shot change.

Soderbergh operated the camera himself, as he does, and the constraint forces the drama into single takes with the actors playing full scenes while the camera decides what it cares about.

The family is falling apart independently of anything supernatural: a mother favouring the son who is a liar, a daughter grieving a friend, a father who has worked out what his wife is doing at work.

David Koepp wrote it. At 85 minutes it does not outstay the idea, which a longer version certainly would have.