Synopsis:
Elisabeth Sparkle, a former A-lister past her prime is drawn to the opportunity presented by a mysterious new drug called The Substance. All it takes is one injection and she is reborn – temporarily – as the gorgeous, twentysomething Sue.
The only rule? Time needs to be split: exactly one week in one body, then one week in the other. No exceptions. Easy, right?
Written and Directed by: Coralie Fargeat
Starring: Demi Moore, Margaret Qualley
Edition:
Theatrical Release (at Alamo Drafthouse)
My Thoughts:
I love this movie so much. As a woman barreling headlong toward middle age, it spoke to me on a deep level. In case you somehow managed to miss this, one of the main tenets of Patriarchy is that as a woman ages, her social value decreases. Now, this makes no kind of sense when one considers that with age comes hard-earned wisdom and experience – but – this tenet has fuck-all to do with sense. Rather than judge a woman’s social value based on what she is able to bring to society, instead it is judged on her perceived fuckability. It’s truly repulsive.
The Substance has shoved itself elbow deep into that very premise. Elisabeth Sparkle has been a patriarchal commodity for (presumably) her entire career. Now, at 50, she’s being shooed out the door to make way for a newer, “better” model that has yet to even be cast. Gods know you can’t have a 50+ aerobics instructor (just ask Jane Fonda, who didn’t even begin her aerobics instruction career until she was in her 40’s and went on to make 22 workout videos before hanging up her leotard to resume full time acting). There’s just something about that 50th birthday that just…tanks your salability, you know? 🤮
So, through unintentional means you’ll just have to see for yourself (the lead-up was, in my opinion, extremely visceral – it was a little tough to watch), Elisabeth finds herself using The Substance to give herself another chance at the life she knows and loves. Is this story a little bit about a woman who can’t let go of her youth? Yes. But it is more deeply about a woman who can’t let go of her youth because she lives in a society where without her youth she is seen as literally nothing by the people who she thinks matter. However, The Substance doesn’t shy away from the reality that although the people Elisabeth thinks matter are willing to toss her aside, the ones who truly matter still see her for what she is – a valuable member of society. Hell, they even still comment on how beautiful she is. But, as all women are likely aware – our social standing and ability to provide for ourselves depends, to a disturbing degree, upon what society as a whole rates us on their “fuckability index.” Don’t believe me? Try making any sort of changes to your outer shell – change your hair drastically, wear an “unflattering” outfit, put on some weight, or go out without makeup if you normally wear it – I promise you – people, even total strangers, will treat you differently than you’re accustomed to. Did you know, for example, that studies show that women in larger bodies typically earn less money than their thinner counterparts? It’s disgusting.
“You will not be disappointed. She’s my most beautiful creation. I have shaped her for success.”
And that is definitely a theme you’re going to be beaten over the head with in The Substance. It’s thoroughly disgusting – and I mean that in the best possible way. There’s no shying away from the existential horror of an aging woman who has made a career of being nubile. There’s also no shying away from the body horror. And The Substance is heavily loaded. I knew right away that the director had to be somewhere near my own age – there are too many homages to the movies I grew up with to be coincidental. And I wasn’t disappointed. Fargeat is slightly less than a decade older than me. In the beginning I was trying to keep track of homages, but to speak frankly, The Substance deserved my entire attention. So, my plan is to buy this the moment it hits Blu Ray, or, if we’re lucky, 4k (eeeewwww). And then I’m going to give it a re-watch and see how many I can count. But I’ll tell you right now, I picked out The Fly (Cronenberg), Society, and perhaps most obviously, The Picture of Dorian Gray without even trying.
I’ll tell you this though – The Substance is not for the faint of heart. It goes hard on the body horror. I live for that stuff, so I enjoyed myself thoroughly, but if you get squeamish easily, you might want to either pass or watch a lot of it through your fingers. This is like Cronenberg through the eyes of a woman (a thoroughly delightful/frightening prospect). It’s a reminder that our bodies are not entirely under our control. It’s also a reminder that none of us are all good or all bad. We’re all complex, and selfish, and tender, and beautiful, and terrifying. The lengths we will go to for basic acceptance is truly incredible. And once we’ve experienced adulation, the lengths we will go to in order to keep that feeling is terrific.
I truly think this was a career best for Demi Moore. Not just because it is horror (which is rad), but because Elisabeth Sparkle is a much more nuanced and intense character than her name implies. Moore knocks it out of the park on what has to have been an extremely emotionally, psychologically, and physically demanding performance. And don’t sleep on Margaret Qualley here either. Although I’d say her performance was primarily physically demanding in the beginning, it, like the story as a whole, continually grows and changes.
The Substance is actually a little difficult to constrain to any one genre beyond body horror. It is satirical, clearly. But it also sort of ratchets back and forth between drama and black comedy. It’s a strangely beautiful piece of work, and I highly recommend it (if you can stomach it).
Rating:
A gut-twisting good time! I’ve seen some negative reviews, but I’ve yet to see one that I felt presented a valid argument as to why the movie was “bad.” They all seem to be either, “it wasn’t feminist enough” or “it was icky for no reason.” I could write an entire book about why there is no singular version of feminism, and how that very premise goes far toward invalidating the entire movement in the eyes of detractors. But…that’s another story for another time. Either way, like what you like, but know that I don’t accept pronouncements that things are “not feminist enough” when the feminism doesn’t package itself the way you prefer.
On a lighter note: bonus stars to Pop FX for the truly incredible prosthetic work. It was phenomenal.
The Substance
Directed by: Coralie Fargeat
US Release Date: September 20, 2024
Mubi
Rated R
141 minutes
