Two of the best movies currently playing in theaters, the RaMell Ross-directed Oscar nominee Nickel Boys and Steven Soderbergh’s Presence, perform extended experiments with a movie camera’s point of view. In Nickel Boys, Ross uses mostly POV shots in an attempt to closely and impressionistically convey the experience of the protagonists, two young Black men sent to a prison disguised as a reform school in the 1960s. In Presence, Soderbergh uses POV to depict the unseen ghostly force that’s haunting a family’s new home; every shot is from the ghost’s point of view. But there’s a third and most-maligned entry in this unofficial camera-gimmick trilogy, one that’s now available, appropriately enough, in the living room of Netflix subscribers: Here, by Robert Zemeckis, one of the best and least-acclaimed films of 2024.
While Ross and Soderbergh attach their points of view to specific characters (even if one doesn’t have corporeal form),
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