The Substance Review

A gloriously over-the-top body horror that succeeds in critiquing misogyny and Hollywood’s unrealistic beauty standards.

Oh boy, this was enjoyable. Coralie Fargeat’s second feature film provides 141 minutes of high-octane extravagance, all while providing a commentary on the misogynistic culture of both show business and society itself. It will no doubt divide viewers, particularly those last 30-minutes or so, but there can be no denying the style with which Fargeat pulls this off, with stunning cinematography and a superb soundtrack.

We begin following the protagonist, Elizabeth Sparkle (Demi Moore), an actress with a star on the Hollywood Hall of Fame who, on her 50th birthday, is dismissed from her aerobics show by the grotesque top dog Harvey (Dennis Quaid) who only wants young, “pretty” women on his productions.

Later that day, distracted by a billboard of herself being removed, Elizabeth is involved in a car crash which leaves her shaken, but relatively unscathed. While in hospital, a young nurse eerily mutters “you’re a good candidate” when examining her spine before, unbeknownst to Elizabeth, slipping a USB drive into her pocket. Elizabeth later finds the USB, titled “The Substance”, along with a note proclaiming, “It changed my life.”

Back home, Elizabeth watches the contents of the drive, an advertisement for a product which promises to create a better version of yourself by unlocking your DNA to create a younger, more perfect you. Initially, Elizabeth throws this away, before, upset and depressed with the turn her life has taken, fishing it out of the trash and calling the number. The AI-like voice at the end of the line provides her with an address and Elizabeth sets off to collect the mysterious product.

If this all sounds too good to be true it’s because, well, it is. The instructions state you must switch every 7 days, with no exception. Also, your other ‘self’ must ‘stabilise’ every day by extracting some spinal fluid from the original. Lastly, and most importantly, there is a reminder that “you are one.”

Upon using The Substance, we witness the ‘birth’ of Elizabeth’s other, younger self, who goes by Sue (Margaret Qualley), in an exceptionally gruesome scene which must be seen to be fully appreciated. This sets up the plot’s focus, the tussle between the older, world-weary Elizabeth and her younger, naive counterpart. We see the recklessness of youth, as Sue abuses the terms of the deal, taking liberties in the pursuit of hedonism with consequences for her older self. Use of “The Substance” can equate to the substance abuse of drugs and alcohol young people often subject themselves to, with the consequences only realised in later life.

Moore has rightly won plaudits for her role, as should Qualley, who portrays the naivety and confidence of Sue impeccably. The two interchange in the male-dominated world of The Substance, as we’re often subjected to the male gaze through POV shots of Harvey and the other nameless male suits who decide the fate of the actual stars.

The last 30-minutes undoubtedly prove the most polarising of the film. I imagine this section lost a lot of viewers as The Substance’s stylishness gives way to over-the-top gore and body horror. It’s no doubt entertaining and I must admit enjoying it, but it feels out-of-kilt with the rest of the picture. It struck me there was a particular scene it would have been perfect to end on, which would’ve left me wondering where the last two thrilling hours had gone. Instead, the conclusion of the film drags and feels self-indulgent, losing some of the impact of the previous 110 minutes.

Despite this, as awards season approaches, The Substance is rightly in amongst the contenders and Fargeat has announced herself as a writer and director whose next project will be eagerly anticipated.