Saturday, November 2, 2024

Join our email blast

Film Review

‘The Substance’ delivers a campy, bloody romp you won’t soon forget

10/2/2024

“The Substance”
R | 141 minutes
Director/Writer: Coralie Fargeat
Stars: Margaret Qualley, Demi Moore, Dennis Quaid

“The Substance” is not just a horror film — it’s a savage indictment of celebrity culture and the lengths to which society pressures women to maintain an unattainable ideal of beauty. It’s a tragic, funny and deeply disturbing film that will resonate with anyone who has felt the weight of those expectations.

Directed by Coralie Fargeat, the film is a grotesque, satirical journey through themes of fame, beauty, aging and societal pressure, all set in the cutthroat glitz and glamour of Hollywood. It is visually stunning, unnerving and unmistakably unique, destined to polarize audiences and become a cult horror classic.

Demi Moore, Margaret Qualley and Dennis Quaid lead an impeccable cast, each fully committing to their roles in this twisted, violent, absurdist narrative. Moore portrays Elisabeth Sparkle, a once-celebrated actress who, at 50, sees her career fading and succumbs to a mysterious substance promising youth. 

However, the drug births Sue (Qualley), a younger version of herself, igniting a Faustian nightmare where both versions of Elisabeth vie for control and identity. Quaid plays Harvey, a sleazy producer, embodying the film’s scathing commentary on misogyny and the Hollywood machine.

From start to finish, every element of the production — cinematography, sound design, set design and makeup effects — works in harmony to create a cohesive, immersive world that’s both repellent and magnetic. Fargeat wears her inspirations proudly, with nods to “The Fly,” “Carrie” and “The Elephant Man,” yet the film never feels derivative. Instead, these influences act as jumping-off points for a fresh, grotesque story that pushes the boundaries of body horror.

“The Substance” critiques society’s obsession with youth, beauty and self-improvement. The film explores the extremes people will go to, particularly (but not exclusively) women, under the pressure to remain eternally young in a patriarchal society. Elisabeth’s transformation into Sue serves as a poignant metaphor for self-loathing and the perils of competing with oneself, a concept rarely explored with such visceral intensity.

Fargeat’s film also toys with genre expectations, veering from horror to absurdism and back again. The second and third acts are filled with shocking twists, escalating into a fever dream of surreal, body-horror sequences. The final act, for example, toes the line between absurdity and genuine terror, encapsulating the film’s willingness to push boundaries without derailing its emotional core.

One of the film’s strengths is its ability to balance grotesque imagery with sharp, incisive social commentary. It takes aim at societal beauty standards and the commodification of women’s bodies, offering a pointed critique of the lengths to which people will go for the illusion of perfection. The horror is not in the jump scares or heart-pounding moments, but in the slow, creeping realization of the cost of this pursuit.

Margaret Qualley and Demi Moore give career-defining performances. Moore is extraordinary, throwing herself into a role that demands both physical and emotional vulnerability. Qualley is equally mesmerizing, delivering a performance that is both seductive and tragic as the younger, more “perfect” version of Elisabeth. Together, they create a dynamic that is as heartbreaking as it is horrifying.

While “The Substance” is not for everyone — it is graphic, strange and, at times, overwhelming — it’s also a film that commands attention. It’s a thought-provoking, visceral experience that will leave a lasting impression. Fans of filmmakers like David Cronenberg, David Lynch and Brian De Palma will find much to love here, and Fargeat cements herself as one of the most exciting directors working in the genre today.

“The Substance” leaves viewers with a clear message: in a world that constantly demands “self-improvement” and “youthful perfection,” the cost of chasing those ideals may ultimately be the loss of one’s true self.

Post a Comment

Your email address will not be published. Required fields are marked *

*

Best of Des Moines