Anyone who watches Demi Moore’s new film, The Substance, will certainly remember it. Set in the vibrant city of Los Angeles, the film opens with a shot of the iconic Hollywood Walk of Fame, where a new star is being installed. This star belongs to actress Elizabeth Sparkle, played by Moore, and is soon seen crumbling, cracked and trampled on—a symbolic foreshadowing of the narrative’s central themes: youth, beauty and belonging.
A 50-year-old Elizabeth, recently fired from a TV show due to low ratings, resorts to extreme measures to recreate a perfect version of herself. What begins as a feminist film, addressing ageism and beauty standards, quickly transforms into something distinctly unforgettable and profound. Sparkle resorts to a mysterious process of “home cloning” with the help of an illicit drug, resulting in the birth of Sue, a young and cheerful doppelganger (played by Margaret Qualley) who literally emerges from her spinal column.
This ritual of rejuvenation, repeated every seven days, is at the heart of the film’s criticism. The condition of cyclical body swapping reveals the devastating consequences and emphasizes the transience of youth and beauty. Elisabeth is presented as the “matrix,” living under the constant pressure of bodily discontent as she ages, metaphorically illustrating that even the evil queen was once a princess, haunted by the reflection that reminds her of the time that stole her youth.
As Elisabeth uses her younger self to achieve her goals, she initially gets what she always wanted. However, the narrative takes a dark and visceral turn as we begin to see the adverse effects of her choices. The Substance does not skimp on elements of body horror, replete with gore and deeply unsettling moments. A landmark for fans of Julia Ducournau, who is well-known for her body horror films ranging from shorts to feature films.
Demi Moore’s performance as a fading star is devoid of glamour. She embraces the rawness and vulnerability of the role, highlighting the deteriorating beauty of Elisabeth Sparkle. “In a way, I felt like I wanted to do that,” she explains. “Part of what made it interesting was going to such a raw and vulnerable place, to really let go. And it was quite liberating in many ways.”
The narrative also deconstructs expectations associated with fairy tales, with the film’s conclusion featuring a striking line by Dennis Quaid, “pretty girls should always smile,” underscoring the persistent pressures surrounding femininity and beauty standards. This dialogue, a critique of the idealism of princess tales, reinforces the brutality of the reality addressed in the film.
Visually, director Coralie Fargeat creates a universe that mixes glamour, fear and disgust. His direction, coupled with the stellar performances of Moore and Qualley, is vital to the film’s effectiveness as an allegory about the dangers of obsessing over physical perfection. The film’s editing, with its crisp, raw transitions, keeps the viewer immersed in the brutality of the narrative.
“The critical point is the constant feeling that time is running out,” says Fargeat. This sense of urgency is palpable throughout the film, emphasizing the ephemerality of beauty and the relentless pressure to maintain it.
The Substance premiered at the Cannes Film Festival, and the film quickly became one of the most talked-about films of the 2024 edition. It is currently in theaters and will be released on MUBI on October 31, offering a disturbing and relevant narrative.
The film’s exploration of “body horror” is not merely for shock value, but to reflect the physical, bodily and emotional barriers that people go through to meet beauty standards. In an era of endless aesthetic procedures, the film presents a modern, critical and, at times, surrealist perspective on the obsession with youth and appearance.
The Substance is a film that provokes reflection, discomfort and admiration, not only challenging the limits of conventional horror, but also offering a striking critique of the obsession with youth and beauty.
You can find The Substance in theaters and from October 31st, on Mubi.
Did you like the content? Then leave a comment to let me know!