The Substance (Theaters)
Demi Moore and Margaret Qualley shine in Coralie Fargeat's gruesome, hysterical satire of ageism in Hollywood
What’s it about? A fading celebrity decides to use a black market drug, a cell-replicating substance that temporarily creates a younger, better version of herself.
Who it’s for? Demi Moore lovers, fans of Body Horror, admirers of stylish filmmaking, dark comedy fans, Hollywood satire enthusiasts, those interested in gender commentary in a genre package
Who should avoid? Squeamish viewers, those looking for subtle gender commentary, if you’re uncomfortable with dark satire, fans of more traditional horror, audiences looking to avoid feminist criticism
Watch if you like: Titane, Black Swan, The Thing, Sunset Boulevard, The Fly, Mulholland Drive
News and Notes:
Premiered at Cannes 2024
Won Best Screenplay at Cannes
Schmear’s Verdict: A stylish, gruesome, and wildly entertaining body horror that pulls no punches in its critique of ageism in Hollywood, The Substance is a bold, unforgettable ride that’s as shocking as it is fun.
Coralie Fargeat’s gruesome beyond-belief body horror thriller The Substance was the most fun and delirious film I saw at the Cannes Film Festival. The filmmaking is beyond stylish and confident. There's little to no subtlety to the film's message; it aims at its target and hits the bullseye with such force and intensity that you're swept away with excitement.
The opening quickly and confidently communicates a lot. We see a star get placed on Hollywood Boulevard, and as time lapses, the cement cracks and tourists spill ketchup on it. Everything we need to know about this actress, Elizabeth Sparkle, gets communicated before we even meet her.
The gorgeous Demi Moore plays Elizabeth. Though the character is past her glory years, she’s doing just fine, teaching a popular, if stale, aerobics class. However, when we drop into the story, she's being phased out by her repulsive producer (a wild Dennis Quaid, doing a terrifying Vince McMahon impression).
When Elizabeth hears about an experimental treatment that will make her younger and more beautiful, she initially balks before relenting. She purchases and injects herself with “The Substance,” a clandestine neon-green goo branded as if it were a HelloFresh meal kit.
There’s little communication or rules regarding “The Substance,” aside from the stark reminder that whatever (and whomever) comes out of The Substance is you, and you are it. This is emphasized so obviously that we just know shit will hit the fan.
Demi Moore's Elizabeth injects herself and, as advertised, experiences intense body changes—the first portrayal of body horror but not the last. She convulses, her pupils do battle within her eyeballs, her skin splits apart, and out comes Margaret Qualley.
She is gleaming and shiny, with every body part where it should be—a picture of youthful impossibility. New Elizabeth, taking on the name Sue, goes out and gets Elizabeth’s old job at the aerobics class, revamping it and becoming an instant star.
At first, everything seems to be going okay, but over time, jealousy begins to foment as Sue sucks the life force from Elizabeth. She treats her like meat, stuffing her body into a secret closet and refusing to go back to her older self.
The world that Coralie Fargeat creates is alluring and unique. The architecture, aerobics, and set design all have a retro '80s feel to them. Fargeat wears her influences on her sleeve. There are nods to The Shining and some Brian De Palma in here, and in terms of plot, it calls to mind Sunset Boulevard or Mulholland Drive.
It’s an L.A. noir that takes aim at ageism and the patriarchal pressures placed on actresses in the industry. Moore and Qualley bring compelling subtextual significance to their roles. Moore, in particular, is such a legend of the screen; her performance adds chilling self-awareness and implication to the film.
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Between the needles and the gore, this film is so gnarly and definitely not for the squeamish. The kid next to me was downright hyperventilating. Me? I had such a blast. I was cracking up. Yes, it's brutal, yes, it's gruesome, and yes, a chicken gets pulled out of a belly button (that's not even the worst thing you see), but this was by far the funniest movie of Cannes.
It’s a car crash that’s impossible to look away from. This film literalizes "don't beat yourself up" as Sue and Elizabeth, despite being the same person, go to absolute war against each other, making real the idea of self-hatred as Sue smashes Elizabeth's head against the mirror.
This goes to some wild places in the end with extreme body horror, which might scare you off. It did for some audience members as people sprinted to the exits during the punk-rock Carrie-influenced ending.
There's already been some backlash to the film, with some calling it anti-feminist and shallow, questioning why we should feel bad about the plight of a beautiful actress, and wondering what new stones the film turns over aside from being a hagsploitation flick.
While I see those arguments, I was bowled over by how abrasive and stylish The Substance is: an irate screed against extreme gender inequality within Hollywood and in society at large. It’s got the subtlety of a sledgehammer, a gorgeous one at that, and I love that these performers were game for such a brazen movie.
This film is an insane and repulsive experience. It has some Titane vibes; Julie Ducourneau’s freaky Palme d'Or winner from 2021. Yes, it definitely could’ve shaved off a few minutes and kept its import, but The Substance is unforgettable, even if it will more likely affirm your prior knowledge of gender expectations than rewire your understanding of them.
