THE SUBSTANCE is a Portrait of Self-Hatred
The Substance, from director Coralie Fargeat was one of the most anticipated films going into this year’s Toronto International Film Festival, and it did not disappoint. It’s a fascinating project that deserves to be seen, especially for fans of strong female voices in cinema. Demi Moore and Margaret Qualley star as two versions of Moore‘s character, Elizabeth, an actress deemed “too old” by network executives. Discovering a mysterious substance that transforms her into a younger version of herself, they must share one life in alternating weeks.
This is a feminist take on body horror, a genre historically dominated by male voices, especially in mainstream cinema. Fargeat makes the genre her own by exploring themes of internalized misogyny, self-hatred, and the male gaze. The film is particularly unique in its use of nudity, as it challenges conventional portrayals of the female body. Both Demi Moore and Margaret Qualley appear nude, but Fargeat reframes how women’s bodies are viewed, depending on whose perspective the audience follows.
From a technical standpoint, The Substance is nearly flawless. The film makes brilliant use of macro cinematography, with extreme close-ups on insects, flesh, and the gradual transformation of Moore‘s body. The credits even highlight the importance of the technical team, giving equal recognition to those in makeup, prosthetics, and visual effects as to the actors and director.
At its core, the film’s most powerful moments are rooted in the theme of self-hatred. The use of mirrors is a key motif, reminiscent of Todd Haynes‘ May December, exploring similar ideas between two women who are, in essence, two versions of one. Elizabeth is a metaphor for self-loathing, and the raw depiction of this resonates universally.
In the third act, Fargeat swings for the fences. While some creative choices may not have aligned with what I anticipated, I respect her commitment to bold decisions. The film goes off the rails in an exhilarating, boundary-pushing way, becoming far more surreal and ungrounded, which might feel isolating for some. For fans of body horror, there are some standout moments, including a scene involving a belly button that caused audible reactions from the audience, as well as moments of tooth-pulling and creatures emerging from spinal regions.
Regarding the portrayal of men, Dennis Quaid‘s performance stands out. His character is a caricature, reflecting how women have often been portrayed in cinema as plot devices. The distortion of his face through fisheye lenses and unflattering close-ups (such as him eating shrimp) feels like a nod to the industry’s treatment of female characters. His character even bears a resemblance to Mugatu from Zoolander, which feels intentional. Additionally, the network executive character is named “Harvey,” likely a reference to Harvey Weinstein.
In conclusion, while The Substance wasn’t a perfect film for me and didn’t make every choice I would have liked, Coralie Fargeat created something truly courageous and visionary. If you’re a fan of body horror or films that explore feminist themes, this one is a must-see. And if you appreciate directors with strong, clear visions, The Substance is for you.
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