When it comes to early reactions surrounding a film, I usually try to take them with a grain of salt. Oftentimes, films that are hyped up with overwhelming praise can be merely okay at best, and those that are heavily criticized can be far better than the consensus makes them out to be. I usually take the buzz around certain films as a possibility, but I do my best not to take it at face value. The same can be said for films that are touted as “weird” or “disturbing”. While I know that films that are given these labels will likely be unconventional or upsetting to a degree, I am also aware that reports of such things can be greatly exaggerated. After all, these things can be rather subjective. So when early reviews surrounding French filmmaker Coralie Fargeat’s latest film, The Substance, seemed to promise a wild, gory experience guaranteed to shock audiences, I was intrigued, but cautiously so.
However, I had a feeling that it could live up to the hype thanks to Fargeat, as she impressed me with her debut feature, Revenge. That film is a brutal, yet engaging rape-revenge tale which is elevated by her distinct vision, and showcases her inventiveness in the process. Even though The Substance sees her taking on elements of body horror and satirizing Hollywood and beauty standards, there is something about her style and approach to filmmaking that is present in Revenge that gave me a bit more hope that this film would be as fantastic and as strange as the reactions from its Cannes debut would have me believe. And against all odds, it absolutely lived up to the hype and then some. The Substance is unlike anything I’ve seen in some time, managing to blend social commentary, campy humor, and some seriously grotesque imagery to make a truly unforgettable film.
Elisabeth Sparkle (Demi Moore) is a fading star who hosts a successful fitness program on TV. On her 50th birthday, she is abruptly fired and gets into a car accident. While at the hospital, she is given a flash drive labeled THE SUBSTANCE, which promotes a product that creates a younger, more beautiful version of yourself. Elisabeth at first rejects this, but ends up giving it a try. After injecting herself with a serum called simply “Activator”, a younger version of herself emerges from her back. This version, named Sue (Margaret Qualley) takes Elisabeth’s old job, and enjoys the benefits of being young and beautiful. The two versions must “switch” every seven days, meaning that one version gets to live and go out in the real world, while the other lays unconscious at home. However, the two begin to take issue with each other when Sue becomes more hungry for fame and Elisabeth begins experiencing some unwanted side effects.
From the film’s first shot of an egg yolk on a plate, I was completely glued to the screen. The film’s visuals are incredible, from its production design to its cinematography to the makeup and costuming. Beyond that, the film’s visual storytelling is impressive, and kept me invested the entire time. The use of bright, vibrant colors in the film’s set and costumes really struck me, as did the way the film employs close-up and POV shots. It is all so arresting, and had a bit of a hypnotic effect on me. Furthermore, the film’s visuals run the gamut from titillating to terrifying. The camera captures the human body in many different ways over the course of the film, giving it a viscerality that enhances everything. It makes moments where it sensually lingers over certain body parts feel more electric, and the body horror sequences feel more appalling. The sheer craft on display is astounding, and had me blown away for much of the film.
One might expect a film like this to be a rich commentary on Hollywood and aging, but it is much more broad in its approach to these themes. This might be a knock against the film for some, but I didn’t mind it too much. Normally, I would want a bit more specificity or depth on this front, but I almost find its broadness to be refreshing. I would argue that it is intentionally this way to reflect Elisabeth’s point of view on the industry and the vapidity of it. It is clear that she really only cares about her image, both physically and as a celebrity, and this is shown numerous times throughout. The entire film is from her perspective, whether that be as herself or through the other version of her, and that informs so much of what we see on screen. But more than that, I don’t think the film is seeking to be something overly deep or complex, instead opting for a blunt method of storytelling that packs a wallop. Personally, I think this is the right move for the film, as there are still plenty of keen observations that it makes that both reveal some depth to the character of Elisabeth and feel true to Fargeat’s particular brand of filmmaking. This can also be seen in the clear and concise rules that come with The Substance itself, which are shown in all-caps black lettering on white cards as Elisabeth is unpacking her first shipment of it. It gets right to the point without overcomplicating anything, allowing the film not to get bogged down by its rules or other minutiae.
I have to applaud this film for getting as strange and gross as it does, as it is audacious to make something that will undoubtedly alienate some viewers. Those who are easily squeamish definitely won’t be on board with this film, and some of the more upsetting imagery will test even the strongest of stomachs. The body horror aspect of the film is most likely going to be what sticks with most viewers, and for good reason. The makeup used to pull off the transformations the characters experience is quite impressive, and the film knows exactly when to lean into the grotesque nature of the story. But it is the final 30 minutes of the film that really takes things to another level, as it lets loose with some of the most bonkers stuff I’ve seen on the big screen in a long time. I won’t spoil anything here, as this needs to be experienced firsthand for maximum effect, but suffice to say that there is a moment where my jaw dropped, and it practically stayed there for the remainder of the film. It is one of the wildest finales of any film I’ve ever seen, and both disgusted me and left me beaming.
Beyond the sheer craft on display in this film, much of its success is due to a pair of stunning performances from Demi Moore and Margaret Qualley. This role marks a major comeback for Moore, as she is incredible in every frame of this film. There is a simmering quality to her that she plays beautifully for much of the film, and the moments where she gets to let loose a little are excellent as well. There is a particular sequence where she is preparing for a date that really stuck with me, as I don’t believe she says a single word during it, but we feel the intense emotions she is experiencing so strongly. It is incredible work, and is easily the finest performance of her career. Qualley has long been on my radar, as she has steadily become one of our best young actors currently working. I would argue that this film fully cements that, as she is fantastic all throughout. She is so locked into what the film is asking of her, and has this magnetic presence that is perfect for her character. This may be my favorite performance of hers so far, and proves that she truly has the goods. I also must bring up Dennis Quaid, who gives one of the best supporting turns of the year as Harvey, a repellent studio executive. He is boisterous and commanding every time he appears, and is a perfect representation of awful, successful men in Hollywood. It’s some of Quaid’s best work, and is made all the more impressive by the fact that he isn’t in as much of the film as you would think. All three of these performances rank among my favorites of the year, and fit into the world of the film perfectly.
The Substance is one of those films that people will either love or hate. Those who are more receptive to its brand of chaos and ridiculousness will be entranced, while those who are not will find this to be an awful monstrosity. I am firmly in the former camp, as this is a fun, exuberant film that features some of the finest filmmaking I’ve seen all year. It is a bit broad in its approach, but I think that it works for the film rather well, as it keeps it from being overly complicated. It is incredibly blunt and direct, and the film is all the better for it. If nothing else, this film acts as a level-up for Coralie Fargeat, who proves that she has some serious juice as a filmmaker. This film evokes shock, pity, disgust, and laughter so well, and has some excellent visuals on top of all of it. It definitely lives up to the labels of “disturbing” and “weird” that it has been given, but it is also a riotous, unforgettable film that I can’t see myself shaking anytime soon.