The Substance, written and directed by which Coralie Fargeat, spares no detail in its criticism of our obsession with beauty, the shallowness of popular culture, the allure of celebrity, the attitude that treats women in entertainment like trash, and the sacrifices made in an effort to remain attractive, young, and current. The movie is clever, humorous, brave, frustrating, perceptive, difficult to watch, and impossible to ignore.
It’s a horror film wrapped in a social commentary—or perhaps the reverse is true. It excels in both. Whatever it is, it is always given its all. Both Margaret Qualley and Demi Moore are outstanding. Instead of being a lifelike cardboard cutout of his exuberant past self, Dennis Quaid is truly back to being himself.
There is a good amount of violence in the film, and the last scene is reminiscent of campy shock-horror films like “The Toxic Avenger” or other titles in the Troma library. (Many allusions are made to previous horror movies, most notably Stanley Kubrick’s “The Shining”).
Moore portrays the well-known actress Elisabeth Sparkle; the opening sequence features workers erecting her star on the Walk of Fame, a gimmick that would inevitably become a critique of the transient nature of celebrity. She currently conducts a fitness program that is a modernized take on the Jane Fonda exercises from the 1980s.
Elisabeth’s manager Harvey (Quaid), a greasy little excuse for a human being, cuts her loose after she turns 50. He doesn’t even stay for lunch, and when he is there, his eating of shrimp is shown in such close-up that it’s much more graphic than the subsequent gore. He sends a card that reads, “You were amazing,” emphasizing the word “were,” along with a bouquet.
Elisabeth makes the decision to give The Substance, or some similar corny platitude, a try. It promises to improve you. Essentially, you become a better version of yourself in a new body. But you have to go back to the old you, every single time, after seven days. After seven days, you switch once more. There are many warnings in the directions, such as “REMEMBER YOU ARE ONE.”
She tries it, and finds it to be unexpectedly complex and equipment-heavy. She injects a fluid and falls to the ground right away. And out of her spine comes a younger, newer version of herself.
Moore’s rendition is lying on the toilet floor, while Qualley—the purportedly improved version—stitches up her back, gets dressed, and goes to an audition to be considered for the role of “the new Elisabeth Sparkle.” Needing to think of a name quickly, she chooses Sue. Harvey shows her the updated version of Elisabeth’s former show because he loves her. She becomes a major star right away.
However, she must return to her latent state while Elisabeth becomes active after seven days. and disinterested. She has to see Sue’s star rise over the coming weeks. It should come as no surprise that Sue finds it harder and harder to give up her newfound popularity. Nevertheless, even a small delay causes bodily tissues to age more quickly. It’s a finger first. It will be much, much more later on. Elisabeth picks up the phone, jokingly inquiring as to how the process is reversed. She’s told, You don’t. Elisabeth’s resentment of Sue only intensifies as Sue’s willingness to put Elisabeth in danger by clinging to herself increases.
