IT ISN’T ALL STYLE… reviewing The Substance

Body Horror is not my favourite subgenre I must admit and I didn’t know much about The Substance (2024) prior to watching it, other than the brief plot outline and that it starred Demi Moore and Margaret Qualley. I have watched quite a few of Qualley’s films and am pretty impressed with her range and talent, so I was definitely keen to see her in this. 

Written, directed and co-produced by Coralie Fargeat (Revenge (2017)), The Substance is a fascinating blend of satire, dark comedy and horror. The film has a vivid and bold saturation reminiscent of a Kubrick aesthetic. Thematically and stylistically there’s a also an indisputable David Lynch semblance and, the satirical and grotesque aspects clearly evoke David Cronenberg’s works. 

Plot summary: Elisabeth Sparkle (Demi Moore) is an aging Hollywood star who is fired from aerobics show she hosts. After crashing her car she is intoduced to a product called “The Substance”, a serum that allows her to regain her beauty and her youth. The drug generates Sue (Margaret Qualley), the younger version of Elisabeth who emerges from a slit in Elisabeth’s back. The relationship is symbiotic but every seven days they must switch bodies. Sue becomes Elisabeth’s replacement on the aerobics show and as Elisabeth begins to deteriorate, chaos ensues.  

This movie is a remarkable piece of social commentary on the entertainment industry’s obsession with youth and beauty, highlighting the push for women (particularly) to adhere to these ridiculous standards and expectations. Sue  could be viewed as an allegory for the pressures placed on women to conform. We (the viewers) are compelled to confront our own ideologies in a narrative that explores the concepts of identity, self-worth and destructive behaviours. Fargeat’s rich, neon colour palette perfectly contrasts the dark and disturbing events taking place spiral into what can only be described as an apex that is equally hideous and absurd. The use of lighting and contrasting colour are sometimes jarring but incredibly effective in promoting that sense of agitation and the constant sense of forthcoming doom. It creates an unwavering psychological turbulence for both of the characters and for the audience simultaneously.  

There are multitudes of symbolim that serve to strengthen and enrich the narrative. Mirrors are used to throughout the film to demonstrate the duality of Elisabeth and to reflect her constant examination and scrutinizing over her appearance. A mirror becomes a weapon when Sue smashes Elisabeth’s face into the glass in a poignant display of hatred and destruction. Her star on the walk of fame is another outstanding example. The star is neglected and even vandalized as her youth recedes and Elisabeth is discarded. A truly brilliant and heartbreaking piece of imagery is the final scene in which Elisabeth’s face disolves into that star. It is an exceptionally impactful moment. The truly bold choice is having a film end without any resolution. You are simply left feeling haunted by the sense of struggle, conflict and unease. Its quite the gut-punch but a very powerful and though-provoking conclusion. 

My criticism of this film is that it tends to rely a little more on the satirical and less on the horror itself. The gore and gratuity is indisputable but it is a little overshadowed in my opinion. The climax is a frenzied, graphic showdown but it feels somewhat forced.  Fans of the body horror subgenre might expect a little more balance and, rightfully so. Overall I enjoyed this movie and I really look forward to seeing what Coralie Fargeat delivers next.