The Substance

Was an enjoyable watch but the last 20-30 minutes got kinda silly and dumb, it lost its intelligence and subtlety too say the least and went to pure dumb gross out scenery, completely unnecessary especially when the messaging wasn't exactly subtle and was evident throughout the entire movie, from the very premise itself tbh, point is they could a ended on a much stronger note before the final change as it added nothing too what it was trying to say or show, not that it should turn anyone off from watching it, it's a good movie that will keep you interested from start too finish but should've been 20 min shorter.

The better version of you is you. Not to be someone else nor someone younger or prettier. I like the message that packed in sarcastic way. At the end of the day, you need to choose, your own beauty or beauty with the monster within. Getting older and not pretty anymore is natural. Getting less famous and attractive is the consequences of life. Be grateful of what you have, and being not satisfy with what we have, only will lead us to the disaster. And remember karma does exist. You plant flowers, you will see the beauty. So, it is worth to watch. You will not see scary thing if you understand the message.

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.

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.

The movie started off with an intriguing premise. Seeing Demi Moore back on the big screen, portraying a character grappling with age-related insecurities, was both refreshing and powerful. Moore, as one of the most stunning and graceful mature actresses I've seen, brought a rawness to the role that really hit home. Her character's struggles with the pressure of maintaining physical beauty in a society obsessed with youth and appearance were deeply relatable, and it felt like the film was setting up to explore these important themes in a thoughtful and impactful way.

As the plot unfolded, it continued to develop in a promising direction. It took a darker turn, delving into the complexities of self-perception and the destructive obsession with physical perfection. The themes of fractured identity and a lack of self-love were poignant, and for a while, the film seemed to be handling these modern issues effectively. The storyline, touching on the fragmentation of personalities and the psychological consequences of societal pressures, was gripping. I was fully invested in seeing how the narrative would conclude.

However, when it came to the ending, it all fell apart. What could have been a profound and thought-provoking conclusion instead devolved into a senseless and, frankly, off-putting sequence that left a bad taste. It felt like all the promise of the earlier parts of the film was undone by a chaotic, incoherent, and ultimately unsatisfying resolution. The ending not only failed to tie up the themes but also undermined the strength of the narrative. It was a great idea, but the execution at the end dragged the entire movie down, leaving me disappointed and questioning what it had all been for.