The Substance delivers that emotional stagnation when one feels life has nothing left for them because of their age and the conceit and disregard of the young.
The Substance is a film that leaves a lasting impression, particularly due to its no-holds-barred performances and its unique blend of body horror, especially in its final act. The final amorphous creation serves as a powerful metaphor for society and showbiz, both of which often adhere to the mantra of ‘out with the old and in with the new.’ Although, for ‘new,’ The Substance demonstrates there’s no business like show business.
Written and directed by Coralie Fargeat (Revenge), the film is an unceasing look at obsession with youth, greed, loneliness, and the inescapable ravages of time. The director delivers a visceral onslaught that shrieks with every image, smile, and tear. Opening with the construction of a Hollywood Boulevard star for Elisabeth Sparkle, played by Demi Moore (The Unbearable Weight of Massive Talent, G.I. Jane), the passage of time plays over her star on the sidewalk. Once sparkling and new, the cracks and tears as time and people erode the star resembles Elisabeth’s career. She decides to take an opportunity to create another youthful her.
In The Substance Moore and Qualley Turn Out Fantastic Performances
It’s similar to a Jekyll and Hyde swap, except the new body tears out of the old one. With the substance comes a clear set of rules. Elisabeth and Sue must swap out each week. And among the other rules is a clear warning that they must remember, despite having separate bodies, they are one. Demi Moore is outstanding, exhibiting all the emotions that come with age in an industry that prizes youth overall. She’s disgusted, angry, sad, riddled with self-doubt, and lets it all shine—or scream—onscreen.
Meanwhile, Sue, played by Margaret Qualley (Once Upon a Time… in Hollywood, Novitiate), the woman created by Elisabeth’s use of the substance, is confident and arrogant but also has a naive exterior that appeals to the men around her, allowing her to claim the body workout show previously helmed by Elisabeth. The Substance delivers that emotional stagnation when one feels life has nothing left for them because of their age and the conceit and disregard of the young. It’s often why kids and young adults see thirty years old as ancient. So, imagine being past that. They all seem to forget that everyone ages.
Shows Beauty Is Pain
The Substance gives the back-alley seedy vibe of this procedure, which feels similar to films and shows that tackle the lengths people will go to for cosmetic surgery—even to the point of jeopardizing one’s health. But it also shows the ugliness of those in charge and their hypocrisy. Dennis Quaid (The Day After Tomorrow, Frequency) displays those traits in his portrayal of Harvey. He’s greedy, nasty, and tacky, yet judges the looks and appearances of those around him, like Elisabeth. It’s not a stretch, given how many old white men in Hollywood determine what gets greenlit. Remember how Hollywood promoted Jennifer’s Body?
One can take away a few themes and messages from The Substance. But it’s also an in-your-face spectacular body horror feast. Although by the third act, it’s a gorgefest with shocking practical effects. Coralie Fargeat’s direction emphasizes the obsession with youth and beauty and brings the film full circle back to the Hollywood star, something visually stunning that erodes in time. Ultimately, be grateful for what you have because it can always be worse. The Substance is a shocking, funny, at times, and uncomfortable descent into an unraveling and spewing up of Hollywood vanity.
