“The one and only thing not to forget: You. Are. One. You can’t escape from yourself.”
This ominous mantra lingers throughout “The Substance,” the sophomore feature written and directed by filmmaker Coralie Fargeat.
The winner of the Best Screenplay award at this year’s Cannes Film Festival, “The Substance” follows Elisabeth Sparkle (played by Demi Moore), a celebrity and longtime host of “Sparkle Your Life,” a popular aerobics show, who is suddenly fired due to her age. After getting into a car accident and while being examined by doctors, she is given a USB drive for a mysterious drug known as The Substance by a male nurse. As soon as she takes the drug, a younger version of herself suddenly emerges, only known as Sue (played by Margaret Qualley). Not soon afterward, Elisabeth begins going into a downward spiral.
Demi Moore delivers the performance of her career as Elisabeth, a fading celebrity who seeks rejuvenation in both her career and herself. Moore’s performance constantly evolves throughout the film as Elisabeth’s mind and overall personality begins to change and deteriorate after taking The Substance. This aspect of her performance is especially showcased in the second half of the film.
Margaret Qualley is also quite excellent as Sue, who is the polar opposite of Elisabeth. She is everything that Elisabeth ever wants to be, yet simultaneously, she is her own worst enemy.
As Harvey, the slimy, sleazy media mogul of the unnamed network that Elisabeth works for, Dennis Quaid is downright vile in his best performance in years. His character is comparable to real-life predatory and misogynistic figures in the industry, such as Vince McMahon and Harvey Weinstein (with the name Harvey appearing to be a reference to the latter). An example of his excellent performance includes a monologue he delivers in the film’s first act at a restaurant while devouring prawns in the most nauseating way.
With her second feature-length film after 2017’s “Revenge,” writer and director Coralie Fargeat tackles the body horror subgenre through a satirical lens, examining the misogynistic beauty standards that still plague the world of media to this very day. Fargeat’s take on the subgenre is so gnarly that my jaw dropped, and I was covering my mouth during the entire duration of the shocking third act. Fargeat’s film is heavily influenced by the works of David Cronenberg (such as his 1983 film, “Videodrome,” which also deals with the medium of television through surrealistic elements). Certain aspects of “The Substance” could also be compared to another Cronenberg film, 1988’s “Dead Ringers,” specifically the themes of downward spirals and dual identities. The satirical elements of the film are also reflected in the hypersexualized nature of Sue’s show “Pump it Up,” showcased in a sequence in the second act, which highlights a taping of it with the camera lingering on the bodies, with frantic editing interspersed. This is starkly different from the “Sparkle Your Life” program hosted by Elisabeth — with that being a typical aerobics show, compared to “Pump it Up.” This element is also reflected in a perverted neighbor who lives across the hall from Elisabeth’s apartment, with the mannerisms of this creepy character becoming evident when his angry mood towards Elisabeth immediately changes when Sue answers the door instead of Elisabeth. Fargeat also intentionally makes the film’s satire as subtle as a sledgehammer, driving the film’s central point into the viewer’s head within the first minutes.
Benjamin Kracun, the cinematographer, delivers to the viewer a disorienting experience. Kracun captures many great shots, such as one in the first act that is a homage to David Lynch’s 1997 film “Lost Highway” — with it consisting of Elisabeth on the phone, in shadows, contacting the number for The Substance on the USB drive. He also heavily uses the fisheye lens, specifically point-of-view shots of Elisabeth and Sue interacting with Harvey and other male figures, emphasizing the grossness of the men. An instance of this is a downright disgusting extreme close-up shot of Harvey eating prawns, with the camera focusing on his mouth, drenching the viewer in an uncomfortable atmosphere.
There is also the stunning production design of the film, such as the hallway of the studio, which is reminiscent of Stanley Kubrick’s “The Shining,” specifically with the carpeting and overall color palette being similar to that of the Overlook Hotel.
“The Substance” is a gnarly piece of body horror that takes the genre to its most shocking limits and will leave your jaw on the floor. Coralie Fargeat delivers a searing satire and a reflection of the current state of beauty standards in the world of pop culture, especially with the rise of a plethora of celebrities taking the drug Ozempic (with The Substance almost feeling like a stand-in or symbolizing it). Fargeat is a filmmaker to look out for. Containing career-best performances from Demi Moore and Dennis Quaid, “The Substance” is a strong contender for the best film of the year.
“Remember you are one.”
“The Substance” is now available for pre-order on Amazon Prime Video.
