Aside from the fantastic Anora, another film that generated tons of buzz from this year’s Cannes Film Festival was The Substance, especially after winning Best Screenplay. French writer/director Coralie Fargeat’s sophomore feature following the 2017 thriller Revenge wasn’t on my radar until it came out this past September. There was the skeptical side of me checking it out for myself because there’s something about body horror that usually freaks me out. But maybe it wouldn’t be as bad as I’ve been imagining in my head. For my money, picture this: The Substance is what you get when you put Death Becomes Her, The Nutty Professor, and The Fly into one of the most insane and original horror films to come out. It left an unforgettable impression on me, with its unique blend of humor, grotesque transformations, and visceral horror.
What’s the Story: Elisabeth Sparkle (Demi Moore) was once one of the biggest stars in Hollywood and continues to be somewhat recognizable with her instructional aerobies show “Sparkle Your Life with Elisabeth.” But her overbearing and sexist producer Harvey (Dennis Quaid) asks her to retire on her 50th birthday, as they’re looking for someone more youthful to take over her show. Distruct with the sudden change on top of a car accident that caused her not to be seriously hurt, it turns out Elisabeth is the perfect candidate for an off-the-market drug called “The Substance.” It’s a way to make a better version of herself (“younger, more beautiful, more perfect”) where she must inject this serum and essentially birth another younger version from her back named Sue (Margaret Qualley) as she poised to take on Elisabeth’s old job with unexpected changes she didn’t see coming.
When I thought The Substance would be nothing but a full-on gag fest, you gotta love the type of horror that has more to say about our society than just providing scares. Fargeat drops us into a world that might be present-day Los Angeles but in some parallel universe where ’80s workout programs are all the rage. But when Elisabeth decides to take the drug out of desperation, she has to switch every seven days to create the perfect balance, and one body is lying unconscious on the bathroom floor, where an IV must be injected. Does this lead to life-changing consequences? For a film like The Substance, there is no doubt about when it can say so much about how women, especially actresses, are dealing with how the definition of beauty has changed regarding age. The symbolism of Elisabeth’s star on the Walk of Fame fading into better days represents her days of being considered old, which are numbered. You don’t know how people are feeling insecure about our bodies of all genders.
Each body swap presents a unique set of experiences for Elisabeth and Sue. Fargeat cleverly portrays Sue’s turn as a brilliant rise, seen through an almost male gaze that catapults her to the pinnacle of celebrity. In stark contrast, Elisabeth grapples with escalating self-consciousness, all the while striving to maintain balance. The rules are straightforward: Elisabeth must also administer a daily dose of ‘Matrix’ body fluid, a vital step to prevent the body from self-destruction. It can be heavy-handed, but you gotta respect Fargeat for going all out with its themes without coming across as pretentious about what it means to be beautiful. Yet The Substance was a bit easier to sit through. Sure, it gets graphic early on, but not enough to make you sick with the imagery she throws in here.
Demi Moore, one of the most beautiful and popular actresses of the ’90s, has always had a magnetic presence. Her portrayal of Elisabeth in this role, despite her age, is a testament to her enduring allure. This could be the career-best performance that her fans have been eagerly anticipating. She’s been a fan-favorite since her work in Ghost and A Few Good Men. However, her career took a hit after Striptease, The Juror, and G.I. Jane were critically panned, leading to her winning back-to-back Razzies for Worst Actress. Elisabeth, a character that’s easy to sympathize with, is an aging star whose journey is all too relatable for many. It’s a role that demands a deep understanding of the character’s evolution, and Moore fully immerses herself to bring out the complexity of Elisabeth. The most poignant scene is when she attempts to leave her apartment for a date with a high school acquaintance, only to find herself constantly fixing her makeup in the mirror, overwhelmed by self-hatred.
Margaret Qualley is also incredible, to the point that every guy who watches this film feels constant jealousy over the fact that Jack Antonoff is married to her. She’s another actress who is steadily making solid career choices with each passing performance, following a career path similar to her mother’s, Andie Macdowell. Her work as Sue is more confident in her appearance and willing to do whatever it takes to maintain it, even if it means going beyond specific instructions. It’s also the best I’ve seen Dennis Quaid in a long time, playing this obnoxious, over-the-top producer who’s not-so-subtly named Harvey. (Fun fact: I think Ray Liotta was going to play this part before his unfortunate passing)
Everything else from this nearly kept my attention through a pretty fast-paced 140 minutes; it’s surprising how I didn’t feel the length. The sound design, particularly the unsettling sound of Quaid scarfing down shrimp from a close-up shot, was so effective that it made us feel uneasy and immersed in the film’s atmosphere. The use of a disorienting sound to the ear further added to this immersive experience. And the unexpected dark comedy angle that got me a few times during a confrontation was a cherry on top.
As we approach the third act, Fargeat prepares us for a shocking and unforgettable experience. The film not only exploits the body horror element, which had me applauding the use of practical makeup effects but also takes a dive into an utterly insane realm. While this may not be everyone’s cup of tea, I was riveted, often covering my mouth with my hands or shirt in sheer disbelief. It’s been some time since any movie on this level grossed me out, and I hate that I ate dinner an hour before I started watching this. The screenplay can raise questions about how this world works or how “The Substance” was not tested anywhere else. But it can be looked past when it can be as ambiguous as possible. If it’s a rare genre film to get into Best Picture, let alone a Best Actress nomination for its lead, then it’s a win for all of us.
Overall, The Substance will be remembered fondly as one of the wildest films of the year. Its unusual blend of sexiness and grossness is not for everyone, but I found it to be a captivating and thought-provoking experience. Whether it’s Demi Moore’s best performance or Coralie Fargeat’s satirical approach to youth standards, this film left a lasting impression on me, and I’m sure it will do the same for many others.
DC's Take 