2024 has turned out to be an incredible year for horror, with innovative films hitting theaters such as Longlegs and I Saw The TV Glow; and some re-imaginings of classic horror films, such as Alien: Romulus and The First Omen. The Substance, a body horror flick released on September 20th, is one of the most original and profound horror films I’ve seen; but also the grossest.
The Substance is a body horror satirical film. The Substance is written and directed by Coralie Fargeat, a second-time horror director who previously directed a feminist revenge thriller, Revenge (2017). The Substance is also a feminist film but in a completely different way. The film is a metaphor for the brutality women inflict upon themselves; be it for beauty standards or whatever other reason.
Fargeat’s inspirations for the film were drawn from her own life. In an interview with Collider at the 2024 Toronto International Film Festival, she said, “The one thing that brings this story to life would be my life since I was a kid I think about how I have to live with my own image and how I learned to be super violent about it and it made me feel that I am never good enough.”
Fargeat continued, “At each age, you have a reason that you can find that something that is not enough, and I question myself about the violence of it. When I was past my 40s and to my 50s, it became even more violent like this is it, I’m gonna be erased its the end of it. I feel it so absurd but at the same time, so real that I wanted to say okay I have to do something about it, its time now to say enough. I want to let this violence go out and hopefully make a change.”
The Substance follows Elisabeth Sparkle, an aging actress and aerobics show host played by Demi Moore. On Elisabeth’s 50th birthday, she is fired from the show, with word that the showrunners are seeking a younger replacement. Amid this, Elisabeth is offered a black-market drug, called “the Substance” that promises to create an enhanced, younger version of herself. But with a catch, Elisabeth and her creation share a consciousness. They each get 7 days on, and 7 days off. They are one, whether they like it or not.
After Elisabeth takes the substance, she is soon replaced at the show by Sue, Elisabeth’s other created self. As Sue becomes more successful, the more she pushes the limits of the substance and the more she pushes Elisabeth. Sue values her fame and desirability above all else, much like Elisabeth did. Sue is played by Margaret Qualley, who looks strikingly similar to a younger Demi Moore. Qualley is electric in this, giving a nuanced performance with little dialogue to support it.
The Substance, while being grotesque and obscene in moments, is incredibly devastating at its core. The lengths Elisabeth will go to remain in the spotlight and to be desired by audiences are seemingly limitless. Demi Moore delivers a career-defining performance that could’ve been lost in the whirlwind of horror and insanity, but her character, Elisabeth, remains grounded and authentic. This story is universal for women, and anyone who has struggled with their body image.’ The substance’ is a representation of the drugs and procedures that are meant to enhance physical attractiveness.
From the surface, the film is oriented from the male gaze, with gratuitous female nudity and overt sexual themes. However, with a deeper look one can understand this intent. We are not watching from the male gaze, but rather the female gaze warped by men. When Elisabeth decides to take the substance, this is fueled by the expectations of the studio executives and men everywhere. Through this, she has internalized the male gaze. Throughout the film, she loses her sense of self.
The body horror in this film, especially in the final act, will make or break any viewer’s experience. It is extreme and disgustingly graphic, reaching levels untouched since David Cronenberg. The gore and disgusting imagery in this film are enough to make even seasoned horror fans’ stomachs churn.
There is a unique quality to body horror that makes the viewer feel uneasy in their own body. The violations of the human body in body horror force us to imagine what this would feel like to endure. The emotional implications of the horror surface in this film. The dual characters (Elisabeth and Sue) mixed with the self-hatred that is baked into Elizabeth, adds a second psychological layer to this horror, she is willingly committing this horror to herself.
The Substance references a multitude of horror classics, such as The Shining (1980), The Fly (1986), The Thing (1982), and even King Kong (1933). The set design as well as the cinematography of The Substance creates a surreal Hollywood environment. The cinematography, curated by DP Benjamin Kracun, creates a visceral experience for the viewer from which they can’t escape. The camera never strays from the horror and disgusting nature of some scenes, but rather thrusts the viewer into the experience.
The practical effects and prosthetics in this film are its strongest point visually, the depths that these effects go will scar viewers for long after the credits roll. The final act is batshit crazy, with dark comedy elements that will make you laugh out loud out of discomfort.
At its core, The Substance is in many ways a retelling of Oscar Wilde’s classic novel The Picture of Dorian Gray. In the novel, Dorian Gray makes a deal with the devil to never age and to remain beautiful forever. As Dorian “ages” he becomes a terrible selfish person with no empathy for others. He remains young and beautiful physically, but his prized portrait now hidden away, reveals his true ugly self; the hidden truth of his facade. Sue’s misuse of Elizabeth’s body is remarkably similar to Dorian Gray’s use of his painting. Hidden away from sight, the character forgets they exist.
The Substance is begging to be seen on a big screen with an audience. Go see this film in theaters before it moves to streaming.
Score: 95%.