La sustancia

If you truly listen to The Substance, what it's saying is that the industries we rely on for many things - our entertainment, our wellbeing, our connection to other people - are corrupted by unfounded fears of female aging, loss of beauty, and the next generation. Sure, it's an exaggerated and somewhat obvious film, but that doesn't make director Coralie Fargeat's point any less true - nor does it detract from the tremendously gory way in which she makes it. Elisabeth's story is a tragedy because those who are allowed to age are actually the lucky ones. To deprive yourself of that grace - physically, mentally, or both - in order to fulfill someone else's twisted goals is a fate which The Substance hopes no woman will ever have to suffer again.

Let me start with the positives. There are a LOT of them. The casting? Perfect. The acting? Pretty flawless. All performances drew me in and added greatly to the story. The concept was phenomenal and super interesting. A really great idea for a movie. The cinematography was unique and very good. The score also greatly added to the suspense. The first 2 thirds of the movie executed all of these things to a T

So why 6 stars? THE ENDING. Took the believable and suspenseful story aspects and threw them out the window in favor of indulging the director's Cronenberg fantasy and desire to max out the special effects budget. It came off as completely disorganized, almost like they had no idea what to do with the ending or any desire to make it interesting. A movie with so much going for it and I left the theater disappointed.

Side notes: enough with the butt shots. We get what you're trying to do, that's enough. Also, if you want to disgust your audience, put in the work in the writers room. Adding over the top squelching sounds to almost every scene is lazy.

The movie starts off strong, with a solid story that suggests a clear narrative. However, as the plot unfolds, it begins to lose focus. Midway through, the film becomes disjointed and chaotic. Initially, it seems like the two main characters are connected, perhaps sharing a mind, but then the story abruptly shifts, revealing them as separate individuals in conflict with each other. By the time you reach the end, the movie veers completely off course, diving into B-movie absurdity.

This had the potential to be a great film, but the third act desperately needed a rewrite. The overall execution feels as if Rob Zombie was brought in for rewrites and reshoots, lending it an uneven tone. Despite its flaws, Demi Moore delivers a strong performance, portraying her character with conviction. While the movie is okay, it ultimately falls short of its potential.

Every scene of this film wowed me at TIFF. The casting, atmosphere, visual and sound design, music, and, of course, the symbolism of it all.

Demi Moore and Margaret Qualley couldn't have been more perfectly cast as leads. Their devotion to the process and trust in their director was clear to me. Their vulnerability pulls this off and leads to a very compelling fever dream.

Everyone involved should be really proud of this film. To me, it's a future cult classic.

It is body/psychological horror, so don't expect jump scares. It's deeper than that. I found myself getting lost in reflection during the film (as a 47 year old woman it really spoke to me).

But it's also extremely fun to watch!

Take it seriously as a true work of art, but don't at the same time, and you'll have a blast.

In 2017, Coralie Fargeat's directorial debut 'Revenge' was released. A subversive tale of vengeance, like 'Kill Bill' mixed with 'Wolf Creek,' it was greeted with overwhelming praise, going on to make just under a million dollars at the box office. A strikingly shot picture overflowing with thematic weight, it showed Fargeat as a filmmaker unafraid to push boundaries and challenge conventions; a visionary with bold ideas.

A notion compounded by her second feature 'The Substance'. A satirical body-horror, it centres on Elisabeth Sparkle, a fading Hollywood starlet. After her 50th birthday, she is fired from her job as host of an aerobics show; her producer reasoning she is past her prime. Circumstances introduce Sparkle to a new wonder drug, creating a younger, more beautiful and perfect version of herself- if she follows the instructions, that is.

'The Substance' is a wild film, most easily described as being like 'All About Eve,' or 'Sunset Boulevard,' if directed by David Cronenberg. It contains much thematic depth, perhaps most obviously about fame, objectification and the ridiculous beauty standards faced by females in Hollywood. Fargeat's screenplay delves into the perils of a society obsessed with youth and perfection, showcasing the lengths to which individuals are willing to go to, to maintain their relevance and desirability.

It is a sad truth that, traditionally, opportunities for actresses dry up after they reach a certain age. Famously, in the early 1960's, Bette Davis was having such a hard time finding work that she placed an advertisement in The Hollywood Reporter, offering her services. In it, she stated that she possessed "thirty years' experience as an actress in motion pictures" and was "mobile still and more affable than rumour would have it." With her narrative, Fargeat cuttingly satirises the Hollywood machine, as well as the fickleness of fame.

Furthermore, the film explores the duality of identity and the internal conflict between one's true self and the facade presented to the world, echoing Oscar Wilde's 'The Picture of Dorian Gray' and Robert Louis Stevenson's 'Dr. Jekyll and Mr. Hyde'. Moreover, it can also be seen as a metaphor for the internal and external pressures faced by women in the entertainment industry, while other notions, such as addiction, control and obsession, are also examined; interwoven cleverly into the narrative and explored with tongue firmly in cheek.

It is a visually arresting film, with Fargeat's signature style evident in every frame. Alongside director of photography Benjamin Kracun, her use of vibrant, contrasting colours creates a surreal world for Sparkle to navigate; like some kind of 1980's hellscape. Furthermore, canny homages to other filmmakers (including Roman Polanski and Stanley Kubrick) serve to heighten the sinister atmosphere of proceedings, which the use of wide-angle lenses and extreme close-ups compounds. Combined with Gladys Garot and Stanislas Reydellet's meticulous production design, as well as Emmanuelle Youchnovski's costumes, the visuals are unsettlingly artistic and powerful.

The sound design is similarly effective at generating a sense of macabre disquiet. Much like the lush visuals, sounds are heightened to have the upmost effect. Moreover, Benjamin Stefanski's score is eerie and evocative, generating much dread, while songs like Bernard Hermann's 'The Nightmare & Dawn' from 'Vertigo,' and 'Pump It Up' by Earl Gregory are used to particularly strong effect. Furthermore, it is a well-edited picture, moving at a fast pace throughout.

In addition, the special effects and make-up are disgustingly breathtaking. Much like Rob Bottin's incredible work for John Carpenter's 'The Thing,' or Chris Walas and Stephan Dupuis's similarly brilliant efforts for Cronenberg's 'The Fly,' Pierre-Olivier Persin's mostly practical effects are jaw-dropping. In the latter half in particular, they are on full display, and are never anything less than bloody amazing.

Demi Moore stars as Sparkle, and is startlingly intense. She goes all out, holding nothing back- both literally and metaphorically. There are parallels between herself and the character of Sparkle, which serve only to heighten the impact of the narrative and the power of her performance. "Fearless" and "brave" are words often applied to actors, and are usually inaccurate overstatements- they're only acting, after all, not firefighting. However, they are probably the best terms to describe Moore's work in the film. It's a gutsy performance devoid of vanity, that may be her best so far.

Margaret Qualley does similarly powerful work as Sue, Sparkle's alter-ego. Much like Moore, she gives everything to the role, and is equally compelling. She brings a vibrant energy and unsettling allure to proceedings, making her character sinisterly beguiling, and the film all the more gripping for it. In addition, Dennis Quaid- in a role originally meant for the late, great Ray Liotta- is magnificently manic as Sparkle's producer; clearly having a ball with the material.

In conclusion, 'The Substance' is a thought-provoking and visually arresting film that solidifies Coralie Fargeat's reputation as a bold and innovative filmmaker. By blending satirical commentary with visceral horror, Fargeat crafts a narrative that is as entertaining as it is unsettling, making the film a must-watch for fans of body horror and incisive social commentary alike. Boasting strong performances and incredible special effects, it fires on all cylinders and doesn't disappoint. So, buy the ticket and take the ride, because 'The Substance' is a trip worth taking.