Directed by: Coralie Fargeat
Written by: Coralie Fargeat
Run Time: 2 hours 21 minutes

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In 1996 Demi Moore became the highest-paid actress in film history, earning a staggering $12.5 million for her performance in Striptease. This was after a prolific career in the 90s with roles in box office hits such as Ghost (1990), A Few Good Men (1992) and Indecent Proposal (1993). After keeping a lower profile with smaller roles throughout the following decades, Moore is finally back in the spotlight as a leading star thanks to French filmmaker Coralie Fargeat’s The Substance.

This is Fargeat’s sophomore film after Revenge (2018), the twisted thriller that first put her on audiences’ radars. But with The Substance boasting a supporting cast of talented names, plus a monstrous 141 minute runtime, she looks to be taking her skills in genre storytelling to dizzying new heights.

The body horror tells the story of Elisabeth Sparkle (Demi Moore), a once-upon-a-time A-list star now relegated to hosting a morning fitness show. Fired by her skeevy producer Harvey (Dennis Quaid, who’s every bit as twisted as his character’s namesake suggests here) for being too old, she discovers a black market drug known as ‘The Substance’ which promises to produce a “younger, more beautiful, more perfect” version of herself (Margaret Qualley). Alternating between the two bodies after every week and rediscovering the success she once had, whatever could go wrong? As one could imagine, quite a lot.

Revenge disregarded the usual misogynistic tropes of a typical revenge thriller for a more interesting and empowering film, and The Substance explores similar themes. This time, Fargeat focuses on how body image, femininity and age are viewed through a showbiz lens. It isn’t subtly portrayed by any means, nor does it need to be when Fargeat is so in control of her craft, using said talking points to inject substance into what she’s most interested in: evocative and audacious storytelling. 

She uses the concept of one life balanced between two bodies to its fullest potential – and then some. Taking clear influences from daring filmmakers such as genre legend David Cronenberg, she shines creatively when showcasing disturbing and gory body horror through incredible makeup and prosthetics. There are occasions where CGI is also implemented, but it’s executed so well thanks to the seamless amalgamation of practical and digital effects that it’s hard to tell what’s real and what isn’t. What makes these effects especially believable is the way in which they are complimented by the excellent production design. The striking colours and indoor sets, along with Benjamin Kracun’s symmetrical cinematography – akin to the style of Stanley Kubrick’s – effortlessly entice audiences into the film’s beautiful, but twisted world.

As well as the impressive visuals, the casting too is first-rate; it makes perfect sense that The Substance is pitched as a comeback role for Moore as her character also desires a return to the stardom she once enjoyed. Moore’s performance generates a lot of sympathy as she portrays a character who’s surrounded by media pushing unrealistic beauty standards everywhere she looks. One of her many stand-out scenes involves Elisabeth getting ready for a date. With the expert use of mirror shots and Moore’s repertoire of emotive facial expressions she conveys the character’s self-doubt in truly heartbreaking fashion. 

Similarly, Margaret Qualley excels as Elisabeth’s younger self, Sue. She plays up all the excitement she feels as the new ‘it girl’ on the scene, matching the film’s overall exaggerated style. Dennis Quaid manages the same, proving to be a true scene-stealer as the vile TV producer who employs both versions of the main character. He hilariously portrays all his sliminess through amplified body gestures while grotesque close-up shots offer further disgust. Even limited supporting roles are crafted with care, such as Elisabeth’s eager neighbour Oliver, played by Gore Abrams, who provides some of the film’s funniest moments. 

Sound also plays a key part in The Substance, whether it’s abrasively conveying characters consuming food, committing violent acts or their bodies aggressively mutating, it does a fantastic job of making the audience feel every single moment. Whether they choose to look at the horrors on screen or cower away from them the superb sound design offers no escape. Also keeping the energy up is the pulsating musical score by composer Raffertie, using harsh synths and industrial drum beats to accompany the film’s rapid pace. The use of licensed music works equally as well; a remix of Endor’s ‘Pump It Up’ is a brilliant choice for a sequence showcasing Sue’s glamorous TV debut.

What really cements The Substance as such a memorable watch though is the third act, where the film shifts into an even higher gear of disturbing and blackly comedic body horror. Fargeat takes her themes to the peak of maximalism, with a blood-soaked finale involving tremendous costumes and outlandish effects. It will no doubt be polarising as it’s so gloriously over the top, but one thing is for sure: it makes for an incredibly unique cinematic experience.

Some audiences may be left perplexed, but The Substance boasts great performances, stylistic craft and original concepts that other cinemagoers will gladly embrace. Mixing poignant themes with audacious set pieces, it’s the type of horror film that collates all of its most beloved elements, along with plenty of new ideas, into an exciting thrill ride that is sure to impress even the most die-hard fans of the genre.

If the idea of ‘Barbie meets The Fly’ sounds like a good time to you, then maybe give yourself a dose of The Substance. Just don’t be surprised if afterwards you walk out of the cinema an entirely different person.

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Star Rating: ★ ★ ★ ★ ★

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