Demi Moore as Elizabeth Sparkle in The Substance (2024). © Universal Studios
The Substance shows how ugly sexy can be. This captivating body horror masterpiece is a surreal dark comedy overflowing with entertaining elements. It’s hardly hyperbolic to say The Substance contains everything that makes cinema a unique form of engrossing artistic expression. This is what movies are for.
The plot revolves around Demi Moore (A Few Good Men) as Elizabeth Sparkle. She’s the host of a popular aerobics show who gets fired when she hits fifty. Desperate to reignite the waning limelight, she seizes on a mysterious opportunity offered to her. Taking the titular substance results in her dividing into a young, sexier being called Sue played by Margaret Qualley (Poor Things). The two must share existence taking periodic breaks during which they rejuvenate. However, as Sue skyrockets to stardom, she and Elizabeth soon begin to resent one another.
The plot revolves around Demi Moore (A Few Good Men) as Elizabeth Sparkle. She’s the host of a popular aerobics show who gets fired when she hits fifty. Desperate to reignite the waning limelight, she seizes on a mysterious opportunity offered to her. Taking the titular substance results in her dividing into a young, sexier being called Sue played by Margaret Qualley (Poor Things). The two must share existence taking periodic breaks during which they rejuvenate. However, as Sue skyrockets to stardom, she and Elizabeth soon begin to resent one another.
Margaret Qualley as Sue in The Substance (2024). © Universal Studios.
No synopsis can really do The Substance justice. More details simply risk spoilers which may tempt a viewer, but also rob moments of their outrageousness. Part of the appeal in watching this movie is being caught off guard by the extremity in its presentation. They may also mislead as to what the movie is about.
Reducing The Substance to a film about sex- and agism in the entertainment industry wouldn’t miss the point. Yet, this myopic analysis leaves out the myriad other points this movie makes. The Substance spares no one. For instance, although masterfully critical of society’s beauty standards, especially the hypocritical way they only effect women, the film doesn’t let Elizabeth off the hook. The thematic brilliance of The Substance is that even as it criticizes society it also jabs at the individual who chooses to take part in the system destroying them. Elizabeth is fantastically wealthy, yet her only aspiration is to remain eye candy. Consequently, there’s a staggering tragedy to her choices throughout the film.
Writer-director Coralie Fargeat uses a variety of cinematic techniques to expertly highlight many of the points she makes. For instance, using a fisheye lens to exaggerate features during a closeup to Brobdingnagian proportions showcasing the imperfections of others while they ridicule Elizabeth’s signs of aging. This is especially effective with the loathsome television producer Harvy, played by Dennis Quad (Innerspace). Audio effects emphasize the sounds of his body while the camera captures unappetizing visuals driving home more than one point. There is the obvious hypocrisy of a man beyond middle age telling a lady she’s too old to be considered attractive anymore, but also, the simple grossness of the human body all together.
Reducing The Substance to a film about sex- and agism in the entertainment industry wouldn’t miss the point. Yet, this myopic analysis leaves out the myriad other points this movie makes. The Substance spares no one. For instance, although masterfully critical of society’s beauty standards, especially the hypocritical way they only effect women, the film doesn’t let Elizabeth off the hook. The thematic brilliance of The Substance is that even as it criticizes society it also jabs at the individual who chooses to take part in the system destroying them. Elizabeth is fantastically wealthy, yet her only aspiration is to remain eye candy. Consequently, there’s a staggering tragedy to her choices throughout the film.
Writer-director Coralie Fargeat uses a variety of cinematic techniques to expertly highlight many of the points she makes. For instance, using a fisheye lens to exaggerate features during a closeup to Brobdingnagian proportions showcasing the imperfections of others while they ridicule Elizabeth’s signs of aging. This is especially effective with the loathsome television producer Harvy, played by Dennis Quad (Innerspace). Audio effects emphasize the sounds of his body while the camera captures unappetizing visuals driving home more than one point. There is the obvious hypocrisy of a man beyond middle age telling a lady she’s too old to be considered attractive anymore, but also, the simple grossness of the human body all together.
Dennis Quad as Harvy in The Substance (2024). © Universal Studios.
At times The Substance can seem to be indulging in the male gaze. It has plenty of nudity as well as stylized shots for scenes which border on softcore porn. However, their frequency eventually robs them of any sensuality. Furthermore, clever visual juxtapositions not only hammer home metaphors about people as meat, but they also reduce the appeal of any T&A. Perhaps one of the film’s most stunning accomplishments is to make nudity, presented in a potentially titillating manner, boring, thereby compelling the viewer to consider what the hell is so appealing in the first place.
Much of this is thanks to the phenomenal cast. Demi Moore returns to the big screen with a wonderfully layered performance. She provides an understandably broken person, worn down by the world, desperate to be loved the only way she knows how, yet is intensely aggressive when the time comes. As such, she cultivates some of the film’s best black comedy.
Meanwhile, Margaret Qualley completes Sue in interesting ways. It isn’t her sex appeal which shines the most, it’s how ugly she’s willing to behave. There is a contemptible selfishness to the character that her physical qualities, if one finds them appealing, cannot distract from, and Qualley goes all in as a spoiled child demanding things the world never promised her—youthful entitlement incarnate.
Much of this is thanks to the phenomenal cast. Demi Moore returns to the big screen with a wonderfully layered performance. She provides an understandably broken person, worn down by the world, desperate to be loved the only way she knows how, yet is intensely aggressive when the time comes. As such, she cultivates some of the film’s best black comedy.
Meanwhile, Margaret Qualley completes Sue in interesting ways. It isn’t her sex appeal which shines the most, it’s how ugly she’s willing to behave. There is a contemptible selfishness to the character that her physical qualities, if one finds them appealing, cannot distract from, and Qualley goes all in as a spoiled child demanding things the world never promised her—youthful entitlement incarnate.
Margaret Qualley and Dennis Quad as Sue and Harvy in The Substance (2024). © Universal Studios
Dennis Quad is the other excellent presence in this feature. His performance as Harvy is equally gross in mannerisms and image. Quad provides some incredibly vile displays, from entitled obvious leering to condescending double standards, yet manages to make most of them comical as well as cringeworthy. He essentially plays a fool who is equally laughable and grotesquely unlikable.
Speaking of grotesquery, it would be impossible to discuss The Substance without mentioning the hideously uncomfortable body horror. These are top tier displays throughout. Not simply high caliber effects, but metaphorically poignant surreal spectacles showcasing the human body as a nauseating, outlandish source of terror. What makes them truly amazing is that even if the symbolism goes right over a person’s head, many moments are on par with the best of David Cronenberg.
Speaking of grotesquery, it would be impossible to discuss The Substance without mentioning the hideously uncomfortable body horror. These are top tier displays throughout. Not simply high caliber effects, but metaphorically poignant surreal spectacles showcasing the human body as a nauseating, outlandish source of terror. What makes them truly amazing is that even if the symbolism goes right over a person’s head, many moments are on par with the best of David Cronenberg.
Demi Moore as Elizabeth Sparkle in The Substance (2024). © Universal Studios
Audio plays a remarkable part in this picture. Rarely are foley effects used with such effectiveness. They highlight horrors, enhance the grossness of certain moments, and known when to stay silent. Audio adds textures, intensity, and emphasis to visual elements; the hollow echo of footsteps down an empty hall during a lonely walk, bones crackling during a transformation, or mouth noises while someone eats like a pig. This symphonic interaction of sounds with cinematic stylization puts The Substance on a whole other level. Rarely do the two dance so well together with such obvious intention. If this film doesn’t at least get nominated for one sound award, something is wrong with the world.
Coralie Fargeat has crafted a film that contains Lynchian dreamlike unreality while cultivating body horror as good as Cronenberg’s best. Yet, the way she does each is all her own. Meanwhile, a superb cast makes this nightmare all too believable. The Substance is reality without realism which can only be seen to be believed. This outrageous extravaganza of body horror is a wonderful dark comedy as well as a poignant tragedy. It’s easily one of the best films I’ve seen all year, and if nothing else, will give you something to talk about for hours on end. A definite must-see, especially for fans of any kind of horror.
Coralie Fargeat has crafted a film that contains Lynchian dreamlike unreality while cultivating body horror as good as Cronenberg’s best. Yet, the way she does each is all her own. Meanwhile, a superb cast makes this nightmare all too believable. The Substance is reality without realism which can only be seen to be believed. This outrageous extravaganza of body horror is a wonderful dark comedy as well as a poignant tragedy. It’s easily one of the best films I’ve seen all year, and if nothing else, will give you something to talk about for hours on end. A definite must-see, especially for fans of any kind of horror.
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