An international co-production between France, the United Kingdom, and the United States,[6] the film had its world premiere on 19 May 2024 at the 77th Cannes Film Festival main competition, where Fargeat won Best Screenplay. It was released theatrically in the United Kingdom and the United States by Mubi on 20 September 2024, and in France by Metropolitan Filmexport on 6 November 2024. The film was a critical and commercial success, earning over $66 million on a $17.5 million production budget.
Plot
On her 50th birthday, Elisabeth Sparkle, a once-celebrated but now-faded Hollywood movie star, is abruptly dismissed from her long-running aerobics TV show by the producer, Harvey, due to her age. Distraught, Elisabeth crashes her car while distracted by a billboard of herself being taken down. At the hospital, a young nurse covertly gives her a flash drive advertising "The Substance", a black market serum that promises a "younger, more beautiful, more perfect" version of oneself.
Elisabeth, intrigued and desperate, orders The Substance and injects the single-use activator serum. She convulses as her body generates a younger version of herself, Sue, who emerges from a slit in her back. The two bodies must switch consciousness every seven days without exception, with the inactive body remaining unconscious and fed intravenously with a weekly food supply. Daily injections of stabilizer fluid, extracted from the original body, are necessary to prevent Sue from deteriorating.
Sue quickly becomes an overnight sensation as Elisabeth's replacement on the TV show, and is eventually offered the chance to host the network's prestigious New Year's Eve Show. While Sue lives a confident and hedonistic life, Elisabeth becomes a self-hating recluse. Nearing the end of her allotted weekly cycle, Sue parties and brings a man home for casual sex, delaying the switch and causing Elisabeth's right index finger to age rapidly. Elisabeth contacts the supplier, who warns her that not following the switching program leads to irreversible aging of the original body. Despite their shared consciousness, Elisabeth and Sue begin to view themselves as separate individuals and grow to despise each other; Elisabeth resents Sue for her frequent disregard of the switching schedule, which further exacerbates her aging, while Sue is disgusted by Elisabeth's constant self-loathing and binge eating. Following a particularly destructive episode as Elisabeth, Sue stockpiles stabilizer fluid and refuses to switch back.
Three months later, the day before the New Year's Eve telecast, Sue runs out of stabilizer fluid and contacts the supplier, who informs her that she must switch back to replenish the fluid. When they switch, Elisabeth finds herself horrifically transformed into an elderly hunchback. Determined to stop Sue, Elisabeth acquires a serum designed to terminate her. Craving admiration, she stops before fully injecting the serum and resuscitates Sue, leaving both of them conscious. Realizing Elisabeth's intent, Sue attacks and kills her before leaving to host the New Year's special.
Without Elisabeth, Sue's body begins to deteriorate. In a panic, she attempts to create a new version of herself using leftover activator serum, despite the single-use supplier warning. This results in the creation of a grotesque mutated body, "Monstro Elisasue", with both Sue and Elisabeth's faces. Monstro Elisasue, dressed up in a mask cut from a poster of Elisabeth, limps onto the stage during the live broadcast. The mask falls off, causing the horrified audience to erupt into chaos and attack her. A man decapitates her, only for an even more mutated head to grow back. Her arm holding the mic-stand snaps off, drenching the audience in blood. Elisasue flees the studio but collapses into viscera. Elisabeth's original face detaches from the gore, crawling onto her neglected star on the Hollywood Walk of Fame. She smiles as she hallucinates being admired before melting into a puddle of pulp. The next day, her blood is cleaned up by a floor scrubber.
Cast
Margaret Qualley, Coralie Fargeat and Demi Moore at TIFF 2024
Coralie Fargeat wrote the screenplay based on feminist themes.
After the critical success of Revenge in the United States, Fargeat received offers to direct studio films, including Black Widow. However, the prospect of a studio film didn’t appeal to her, as she wouldn't receive final cut privilege. Instead, she chose to write The Substance as a spec script[18] and become a producer to maintain creative control. Eric Fellner, who also co-produced the film, traveled to Paris several times for lunch with Fargeat after seeing Revenge in 2017, to persuade her to choose Working Title for her next project.[19] The film took five years to make, from its initial concept to its final release.[20]
People often ask if my characters are caricatures, and my first instinct is to say 'yes.' Then I think, 'no, no, they’re not caricatures.' Unfortunately, they are behaviors that have existed and continue to exist. Here, they’re just brought to the forefront and presented openly. In real life, it’s not always as obvious—although sometimes it is.[21]
—Coralie Fargeat
Fargeat aimed to continue the feminist themes developed in Revenge including what it means to be a woman.[22][23] She began writing the film in her 40s, a period when she was confronting negative thoughts about her relevance and appearance. "I really started to think and [have] these voices in my head like, 'Now your life is over. No one is going to care about you.'"[24]
Fargeat crafted the 138-page script with a scant 29 pages dedicated to dialogue.[25][note 3] She has described her writing style as like writing a novel.[27] She wrote the script in extensive detail;[28][29] every sensory experience the audience would feel in the final film including the sounds, and sometimes even specified close-ups were written in the script.[27] In French: "Quand j'ai écrit le film, j'ai été vraiment très spécifique [...] C'est presque comme des romans [...]"[27]
Similarly, she chose to omit character backstories, preferring to reveal information through actions, locations, and attire. For example, colors were written into the script to symbolize character traits — Elisabeth Sparkle’s yellow jacket representing a “superhero-like” quality before her transformation, and Sue’s pink leotard signifying her femininity.[29] The character Sue, described as blonde in a 2020 draft of the script,[8] was given her namesake to subconsciously evoke Lolita and Marilyn Monroe, "baby-doll"-like iconography, and classic beauty standards that continue to endure.[29] Fargeat chose the name Elisabeth for its “iconic resonance” with the big movie stars in the past, and Sparkle because of its associations with happiness and to “shine and be under the light.”[30]
That’s the most important thing for me [...] why the images came the way they came, even if they don’t make sense from a realistic point of view. [...] We don’t care that it’s not possible, because this is not reality. It’s The Substance’s reality.[31]
—Coralie Fargeat
The film's pivotal birth scene, which Fargeat conceived while in the shower,[32] was the first that Fargeat wrote, and, in her view, "the most important scene of the film." She recalls, "I didn’t even know who my character would be. It’s the first one that really came to my mind, and it holds the core DNA of the movie as a true visceral experience with no words, making you feel what the characters are going to feel."[28] Fargeat later decided that the main character should be an actress to explore societal perceptions of bodies.[33] She also chose to have Elisabeth Sparkle host an aerobics class,[34] inspired by Jane Fonda's transition from a successful actress to her second career starring in exercise tapes.[35] She stated for Fangoria that "The writing of the movie was a cathartic thing [...] it transformed me in a way."[36]
Fargeat listened to a variety of music to influence the screenplay. She cited Mica Levi's score from Under the Skin, and other experimental music and composers that had "this kind of heartbeat or pulsation...related to the heartbeat of the new human being or the way you can feel with your body."[37] Fargeat also listened to hyper-sexualized music, which helped inspire the in-universe Pump It Up show.[37]
Casting
Fargeat knew that casting would be challenging, as the film had minimal dialogue and relies heavily on the characters. Elisabeth Sparkle needed to be cast first, as she is the one who generates her other self.[32] Demi Moore was not Fargeat’s first choice;[18] several actresses were considered but declined the role before Moore.[38] At her agent’s insistence, Moore read the script before knowing any details. She was intrigued by its unusual subject matter,[39] though was unfamiliar with the body horror genre, feeling the film could either “really work and be part of a cultural shift” or “be a fucking disaster.”[18] Fargeat initially didn’t expect Moore to be interested, as she didn’t think Moore would be willing to take on a film with that type of risk. She also viewed Moore as an actress “in total control of her image.”[38]
Demi Moore met with Fargeat over the course of six meetings to consider the role of Elisabeth.
In order to determine if the role was a fit, the two discussed the film over the course of six meetings.[40] Fargeat explained the film in detail:[41] the film’s extensive prep work, prosthetics, meager resources, shooting location and the level of nudity, which she felt was foundational to the story.[38] During one of the meetings, Moore gave Fargeat a copy of her autobiography. Fargeat gained a deeper understanding of Moore as a person and was struck by her resilience. “I read her autobiography, and she had some tough years in her personal life. [...] She made herself on her own [...] in a place that was a totally male-dominated industry, being ahead of her time in many regards, like doing this naked picture of her pregnant, taking a lot of risks and having a lot of feminist statements, wanting to be paid as much as her co-stars.”[42] Fargeat was also excited by the prospect of having a real-life icon play Elisabeth.[32]
Moore understood the meta-nature[43] of the role but did not feel that she was the character, as Elisabeth had no family. As she further explained, “she’s dedicated her entire life to her career, and when that’s taken, what does she have?” However, Moore sympathized with the character’s pain.[44] She recognized that the characters were deeply important to Fargeat, and saw them as stand-ins for the director herself: Elisabeth represents Coralie, while Margaret’s Sue is the girl from the '90s that Coralie always felt pitted against.[45] Moore would later reflect positively on her role saying, “What I love is this was a rich, complex, demanding role that gave me an opportunity to really push myself outside of my comfort zone, and in the end to feel like I explored and grew not only as an actor, but as a person.”[46]
Margaret Qualley lifted weights for months as preparation for the role of Sue.
While talking to Moore, Fargeat thought about potential pairings; later, when she met with Margaret Qualley she felt they had a common energy. Fargeat also liked that Qualley had a background as a dancer.[32] Moore had not previously met Qualley, but was excited to collaborate, citing their shared willingness to "get a little dirty"; Moore had prior indirect ties with Qualley and worked with Qualley’s mother, Andie MacDowell, in St. Elmo’s Fire, and Qualley knew Moore’s daughters.[47]
Qualley was in Panama, shooting Claire Denis’s Stars at Noon, when she read the script and was drawn to the prospect of playing a character who seemed “really far from [her]” and she had a feeling that it was going to be “special.”[39] During prep, Fargeat emphasized the physicality of the roles (both actors’ bodies would be central to their performances). For Qualley, this meant lifting weights for months to achieve Sue’s sex symbol figure.[43][48] Qualley spent a lot of time walking around her apartment, practicing her character, "freaking my husband out" (referring to her husband, Jack Antonoff).[49]
During shooting, Fargeat provided the temporary voicing for “the Substance” herself, and after a lengthy casting process, found American actor Yann Bean, who was living in Paris, to voice it. Fargeat wanted a voice with devil-like, tempting, and powerful qualities.[50]
The cast originally included Ray Liotta,[51] but Liotta died in May 2022 and was replaced with Dennis Quaid three months into filming.[52]
Filming
Camera used on set by cinematographer Benjamin Kračun
Fargeat selected Kračun as cinematographer after being impressed by his work on Promising Young Woman.[54] He shot the film primarily with the Alexa LF, for its accurate capture of skin tones,[26] and used vintage, spherical Canon K35 lenses to accommodate the large number of close-ups in the film.[55]Red V-Raptor and Komodo were also used. The Raptor for visual effects, with its high resolution 8K sensor, and the Komodo for the body and helmet rig.[26]
The film was shot in continuity when possible, adopting what the crew called a "lab shoot" approach in its final month to capture insert shots[56]—typically assigned to a second unit[57]—with a reduced crew.[28] Fargeat storyboarded all the prosthetic and birth sections before production began, allowing for on-set adjustments within the storyboards as needed.[58] The lab shoot included close-ups of injections and a back splitting open as well as additional insert shots. Fargeat even went so far as to perform an actual syringe injection of the activator on her own arm, doubling for Demi Moore in the shot.[59] Crew sizes fluctuated significantly throughout production, ranging from just 6 members for the lab shoot,[59] 8 for exterior scenes, and over 200 for complex practical effects sequences in the studio.[53]
After Liotta was replaced by Dennis Quaid 3 months into filming, Quaid's arrival brought an "energy injection" to the set. For his lunch scene with Demi Moore, Quaid consumed approximately 2 kilograms of shrimp.[note 4]
Margaret Qualley lightheartedly described learning the choreography for The Substance as a “nightmare,” and was overwhelmed by performing with professional dancers who had already memorized the moves which she was new to. Although trained as a ballet dancer,[62] she explained that "that specific kind of sexuality doesn’t lend itself to [me]”[63] and that she’d “never [do it] again.”[64] Qualley began the rehearsal with Fargeat present but left the set to go to the bathroom and cry. Fargeat decided to leave the rehearsal as well, and later, Qualley received a private one on one lesson, allowing her to practice in her hotel room and build confidence as she felt deeply ashamed by the whole series of events.[63] Nonetheless, on the day of the shoot, she “just got wasted first thing in the morning” because she was anxious about performing in front of everyone; a combination of cannabis and tequila gave her the courage she needed.[63] In a live Q&A after the film’s release, Qualley expressed happiness in getting to perform the dance, as many previous scenes had been slow-paced and required minimal movement or expression, making the dance sequence a welcome change.[65]
Demi Moore found Coralie Fargeat to be a “very visual director” with a focus on symbolism.[66] While Moore was accustomed to starting scenes with wide shots to establish the scene’s space, Fargeat instead began with close-ups. Moore found that “the actor's part of it is not as...important” to Fargeat: “it’s not necessarily where she’s as focused.” Moore described this as “not good or bad it’s just kind of different.”[67] Fargeat praised Moore's body language in the film;[48] Moore chose to express Elisabeth through subtleties, such as her eyes and other simple expressions.[68] Moore briefly worked with a movement coach over Zoom, to avoid injuring herself when in a hunched position and performing fast movements.[69]
During a one-week break while only Qualley was working, Moore contracted shingles and lost 20 pounds during the production.[43]
Initially, two days of exterior shooting were planned in Los Angeles. However, after Kračun filmed test shots of palm trees early on during filming, Fargeat realized she could use these shots as tableaux, and eliminate extensive exterior shots. Ultimately, the only part of the film actually shot in Los Angeles was the still backdrop (photographed by Rosco Digital) in the Canyons.[70]
Set design
The Substance required a three-month construction period to build the sets, including Elisabeth’s apartment with distinct spaces like the bathroom and secret room as well as the New Year’s Eve theater and a TV studio hallway.[26] The central feature of the apartment set was the large panoramic window, symbolizing Elisabeth’s past and, later, Sue’s rebirth and future. Fargeat envisioned the apartment with a “timeless, old-fashioned but also futuristic quality,” allowing it to transcend specific eras and enrich the story with symbolism.[29] Initially, Fargeat and Kračun considered LED-screen technology for the window’s scenic Los Angeles cityscape, but Kračun determined it was costly and technically challenging, involving nine technicians to operate. Instead, they opted for a Rosco SoftDrop backdrop, evoking a romantic, Hitchcockian quality;[71] Kračun described the overall look of the film as “pink noir.”[72] Fargeat expressed great satisfaction seeing the practical set for the first time as she had anticipated shooting it on greenscreen.[73]
Fargeat wanted the bathroom set to function as a metaphorical “cocoon” and envisioned it as a mental space that felt abstract, stylized, and empty. She pushed back against the production designer who wanted a more realistic look and who asked: “Are you sure you don’t want any furniture in the bathroom at all?”[29] Kračun wanted sconces to help modify the lighting but Fargeat ultimately rejected this idea, and the lighting was kept harsh.[74] The shower scene with Moore lying on the floor and knocking her head, while the camera booms up, was shot fully in camera and achieved by constructing a shower three times taller than standard height.[75]
After the production finished shooting on the apartment set, it was destroyed to build the theater in the same space, being “basically [...] built on the ashes of the apartment” according to Fargeat.[73] Initially, there were plans to shoot in a real theater that was going to be refurbished completely,[76] but the crew discovered that the venue, while initially welcoming at the idea of shooting a small splattering of blood, became apprehensive upon realizing the extent of the blood effects. As one producer remarked, “Okay, I don’t want to finish in jail. We can't shoot in a real theater, because there is no way we can protect it in a way that it's not going to be destroyed.”[73] Kračun was also surprised by the amount of blood remarking, “Coralie said at one point, ‘I want to have fire engines full of blood spraying the audience,’ and I thought, ‘Oh, maybe that’s just a French way of saying there’s going to be a lot of blood,’ but no, she really wanted a hose full of blood in the audience, in the theater, and it was going to be a lot of blood!”[26]
The special effects team ultimately utilized 30,000 gallons[43][77] of fake blood and a fire hose.[78] The shots of the audience being sprayed with blood in the climax were achieved in one take.[77]
Filming of the theater scenes took nearly three weeks; it became a significant technical challenge of how to control the spread, pressure, and quantity of blood, how to waterproof the filming equipment,[79][26] and how to keep everyone safe. Showers were set up outside the theater set for the extras.[80] During the shoot, Kračun hid himself in the audience and filmed while Fargeat operated another camera and controlled the hose. Once Fargeat and Kračun were on set covered in blood, they hugged each other and said, “We did it.”[73]
Prosthetics and makeup effects
Fargeat opted to rely on practical effects, accounting for 70–80% of the final film,[81] resisting the push toward cheaper digital effects.[53] Fargeat felt that the use of practical effects was crucial to convey the themes of violence.[82]
Prosthetics and makeup effects for the film were designed by Pierre-Olivier Persin and his company, Pop FX.[83] Persin dedicated over a year to the project. Persin was hired after the designs from several other companies were rejected for being overly masculine.[84] His concept designs were unique in that they incorporated a sense of femininity and grace rather than doing "a rubber monster for the guys."[83]
Persin would design the prosthetics for Elisabeth's transformation process, which were organized into a series of five stages, starting with a withered finger ("The Finger").[83] The next stage would be a more aged look, called "Requiem" (inspired by Requiem for a Dream), followed by the hunched-backed, saggy "Gollum," the creature at the climax "Monstro Elisasue"[85][note 5] and lastly, "The Blob."[86][note 6] Fargeat deliberately sought to avoid making the effects look realistic, aiming instead to create a deformed representation of the aging process, shaped by the characters' fear and anger.[87]
For the birth of Sue, a combination of sophisticated silicone dummies, prosthetics on body doubles and applied makeup on Demi Moore were used.[86] The entire birth sequence was shot with practical effects with the exception of the close up of the eye splitting.[59]
For the nude scenes, Margaret Qualley wore breast prostheses to portray an idealized image of beauty, reminiscent of Jessica Rabbit. Qualley humorously explained the process: "Unfortunately, there is no magic boob potion, so we had to glue those on... [they endowed] me with the rack of a lifetime—just not my lifetime."[88]
Special care was required for scenes involving partial prosthetics, starting with Elisabeth Sparkle's withered finger. The goal was to avoid an unbalanced appearance where the prosthetic finger might look bulkier than the untouched ones. Achieving a seamless look without adding excess volume meant creating extremely thin prosthetics. During testing, the initial version appeared too large and awkward, prompting Persin to halt the development on all other prosthetics and the team re-configure their designs on the basis of the finger. In total all the prosthetics were re-designed twice.[85]
When ending with "The Blob" featuring Moore's face, Fargeat wanted to preserve her facial expressions. Persin and his team constructed and manually maneuevered a puppet blob for the scene, which was overlayed on Moore's face with visual effects.[85]
Prosthetics application ranged between 45 minutes[85] to 7 hours[84][note 7] depending on character complexity, sometimes only leaving an hour or two for filming in a given day.[90][18][91]
For the scene where Demi Moore removes her makeup in front of a mirror, makeup artist Stéphanie Guillon intervened after the 11th take to prevent a rash. "I took the remover pad and I squashed everything, and I said, 'I removed everything, that's over. You have already 11. You cannot have more because tomorrow she will have a red face.' Normally you don't do that! But it was too much because it was very hard on her skin."[83]
Designing Monstro Elisasue
Prosthetics for the "Monstro Elisasue"
The head is a little bit like a female Elephant Man [...] that was what Coralie wanted, the sensibility of The Elephant Man, the David Lynch movie. We spent lots of time designing Monstro with all the breasts and trying to balance everything. Is she fat enough? How many boobs? Maybe we should add a jaw here. Maybe we can [add a spine], because there's lots of spines in the story from the very beginning.[85]
—Pierre-Olivier Persin
The design for Monstro, the grotesque hybrid creature featured in the film's climax, took Persin and his team nearly a month to finalize.[85] Fargeat had always envisioned the film ending with a monster—a creation she referred to as a "Picasso of male expectations."[77]
Persin drew inspiration from Niki de Saint Phalle, a French sculptor known for her vibrant and curvaceous figures, especially her depictions of female dancers.[83] Artist Fernando Botero, whose sculptures often feature women with exaggerated proportions, also served as an artistic reference.[77] Persin was also influenced by David Cronenberg's The Fly.[86]
During pre-production, Persin expressed concerns about having Qualley wear the suit, noting that only her eye would be visible through the prosthetics.[85] Fargeat pushed for Qualley in the suit for close-up shots, recognizing the importance of her performance. Persin later acknowledged that Qualley's presence and performance were essential and visibly impactful in the final film.[83]
Qualley would later describe wearing the prosthetics as "torture," adding, "I had this awesome team of prosthetic artists that put it on me and took it off of me and got me through the day, making me laugh a couple of times while I was just on the brink of panic."[92] "My problem was I had to cry while I had the monster costume on. At a certain point, you're just swimming—there's like a layer of tears and snot inside your prosthetics, and they're just trying to reglue it down."[93] The prosthetics application for Qualley required 6 hours[77] and was filmed over the course of eight days.[43] The suit was also designed with a cooling vest similar to that which racecar drivers use.[81]
The climax featured a total of five heads (including a special head with a cavity that splits open to birth a breast attached to an umbilical cord), two full bodysuits, two partial bodysuits, and a mold of Moore's head.[77] The suit was entirely practical, with the exception of Moore's screaming face, which was achieved using digital effects.[78]
Fargeat personally donned the Monstro suit for the shots showing blood spraying from Monstro's point of view. She held the camera herself, without the headpiece, while wearing the suit, as her arm was inside the blood rig.[85] The constant spraying of blood caused the latex to turn pink as it became saturated quickly. The suit required repainting, resewing, and drying after each day. To maintain cleanliness and sanitation, the crew also sprayed vodka inside the suit every night.[86]
In the final theater scene, the stunt performer was on a dolly due to the lack of mobility from the suit. When the blood rig was first tested, the stunt performer went rolling backward down the long blood-soaked hallway featured near the end of the film.[78]
Music
The film's score was conceived by British producer and composer Raffertie,[94] who was brought in late for the scoring process due to various factors.[95] He was chosen for the "electronic kind of violence and roughness" in his music, as well as his ability to create sensitive, emotional pieces.[95]
Working Title's parent company, Universal Pictures, which originally signed on as the distributor through a deal with Working Title Films,[10] stepped away from the project but remained credited as a copyright holder in the film's credits. Multiple sources told The Hollywood Reporter that the studio was "worried about the prospect of releasing the film."[18][105] According to Fargeat, the film encountered significant challenges during post-production, including a contentious test screening attended by two unnamed male executives and one unnamed female representative from Universal. One male executive vehemently opposed the film and insisted on a recut, a demand deemed unfeasible due to Fargeat's contractual final cut privilege. Sensing the impasse, he decided to drop the film from Universal's distribution. Although the female executive later expressed her support for the film privately to Fargeat, she felt unable to voice her opinion during the screening.[106]
Prior to its Cannes debut, Mubi acquired worldwide rights to the film for $12.5 million,[2] planning to distribute it theatrically in North America, United Kingdom, Ireland, Germany, Austria, Latin America, Benelux as well as holding rights for Turkey and India, with its sales company subsidiary The Match Factory handling worldwide sales.[107]The Substance opened in theaters in the US, UK, Latin America, Germany, Canada and Netherlands on 20 September 2024,[108] as well as in Spain on 11 October 2024.[109]Metropolitan Filmexport acquired French distribution rights from The Match Factory,[110][111] and released the film on 6 November 2024.[112]
Home media
The Substance was released on MUBI's streaming platform and VOD in selected markets on 31 October 2024.[113][114] The film is due to be released on DVD and Blu-ray on 1 July 2025 in the United Kingdom,[115] and on 21 Jan 2025 in the United States.[116][bettersourceneeded]
Reception
Box office
As of November17,2024[update], The Substance has grossed over $16.2million in the United States and Canada, and over $35.2million in other territories, for a worldwide total of $51.5million.[3][4]
In the United States and Canada, The Substance was released alongside Transformers One and Never Let Go, and was projected to gross around $3 million from 1,949 theaters in its opening weekend.[117] The film made $1.3 million on its first day, including $512,000 from Wednesday and Thursday night previews.[2] It went on to debut to $3.2 million, finishing sixth at the box office.[118][119] The film dropped only 39% the following weekend, grossing $1.8 million.[120] The film has become Mubi’s highest grossing film, surpassing the $10 million gross of Priscilla (2023).[120][121] Additionally in its first week of PVOD release, it ranked #3 on iTunes and #6 on Fandango at Home.[122]
Critical response
Demi Moore's performance received praise, with critics calling it a career-best for the actress.
On the review aggregator website Rotten Tomatoes, 90% of 325 critics' reviews are positive, with an average rating of 8.1/10.The website's consensus reads: "Audaciously gross, wickedly clever, and possibly Demi Moore's finest hour, The Substance is a gasp-inducing feat from writer-director Coralie Fargeat."[123]Metacritic, which uses a weighted average, assigned the film a score of 78 out of 100, based on 57 critics, indicating "generally favorable" reviews.[124] Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale, while those surveyed by PostTrak gave it an 80% overall positive score (including an average of 4 out of 5 stars), with 75% saying they would definitely recommend it.[2] On AlloCiné, the film received an average rating of 3.6 out of 5, based on 39 reviews from French critics.[125]
Peter Bradshaw's four-star review in The Guardian called it "a cheerfully silly and outrageously indulgent piece of gonzo body-horror comedy."[126] David Ehrlich of IndieWire graded the film an A, calling it "an epic, audacious body horror masterpiece... an instant classic. The most sickly entertaining theatrical experience of the year."[127] Nicholas Barber of the BBC awarded the film four stars out of five, while singling out Moore's performance: "Ripping into her best big-screen role in decades, Demi Moore is fearless in parodying her public image."[128] Phil de Semlyen's five star review in Time Out says it is "Moore who glues it all together, going full Isabelle Adjani-in-Possession in a vanity-free performance full of bruised ego, dawning horror and vulnerability."[129]
Owen Gleiberman in Variety praised the film's director: "Coralie Fargeat works with the flair of a grindhouse Kubrick in a weirdly fun, cathartically grotesque fusion of Dr. Jekyll and Mr. Hyde and Showgirls."[130] Radhika Seth in Vogue called it an "audacious piece of filmmaking... the most exciting release to have debuted on the Croisette so far" and that it was her "current pick to win the Palme d'Or."[131] Damon Wise in Deadline said it is "a riotous, dreamlike horror-thriller that ends in a delirious symphony of blood, guts and otherwise undefinable viscera."[132]Javier Ocaña of El País wrote that the film "is not that great," partly "because subtlety is not Fargeat's greatest virtue," but "mostly because the first 45 minutes seem like a covert remake" of John Frankenheimer's [superior] Seconds.[133]
Themes
Wendy Ide of The Guardian praised The Substance for its feminist perspective of older women, making note of how other female-led horror films like Carrie or Rosemary's Baby centre on themes of menstruation and childbirth. She wrote that The Substance, in contrast, "not only offers a female perspective on women's bodies, but also argues that things only start to get properly messy once fertility is a dim memory."[134]New York Times critic Alissa Wilkinson noted the satirically exaggerated camera angles and shots, depicting the female characters in a way "that feels reminiscent mostly of porn." She wrote:
In the end that's what The Substance does best: not just remind us about the absurd standards for female beauty and the destructive power of celebrity, but turn the mirror back on us. The sharpest critique isn't about bodies, but about the way we've trained ourselves to look at those bodies, and the effect that has on our own. The movie is, appropriately enough, a mirror, and our discomfort reveals our own hidden biases and fears about ourselves. Being older, being famous, being seen, being loved, being usurped by someone younger and hotter—it's all here. Nothing like a mirror to remind you what lurks beneath.[135]
Alison Willmore of Vulture said that the film's strongest theme is about the dangers of addiction, comparing it to Requiem for a Dream.[136] Several critics have noted the film's similarities to Oscar Wilde's 1890 novel The Picture of Dorian Gray.[137]
↑ In the script, Craig Silver is Elisabeth Sparkle's Agent.[8] He is thanked in the "special thanks" of the film credits and list by Mubi site under cast.[9]
↑ The 2020 version of the script is 138 pages.[8] Other sources (quoting Kračun) put the length at 130[25] to 150[26] pages with 20[26] to 29 pages[25] of dialogue.
↑ Fargeat puts the estimate at 2 kilograms in an interview,[60] while Moore states it was about 4 pounds.[61]
↑ The monster is instead referred to as MonstroElisaSue (no spaces) in the script and as MONSTROELISASUE in the film credits.[8]
↑ Other sources refer to the last stage as "Gremlin."[83]
↑ Sources differ on the exact number; for instance, Moore stated that she spent 6.5 to 9 hours in the chair, possibly including takedown time.[89]
↑ Pulled from competition by Fargeat due to negative comments about women in film by the festival director Marek Zydowicz.[149]
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↑ Lemercier, Fabien (20 May 2024). "Review: The Substance". Cineuropa. Retrieved 28 September 2024. The Substance is produced by Working Title (UK) and A Good Story (France) together with Universal Studios, in co-production with French firm Blacksmith.
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