The Substance
It took her a while, but Coralie Fargeat finally released her second feature film. The good news is that even though she took her time, it was 100% worth the wait. The Substance has been turning heads left and right, which is quite a surprise as this isn't the type of film that is tailored to please a broad audience. It's a win for originality and creativity though, so I'm more than happy to do my part in pushing this to an even wider audience. Fargeat went from a promising genre director to a full-on genius just two feature films into her career, this can only mean good things for the future.
Fargeat rose to the surface when female directors were vocal about wanting more opportunities. Unlike her American counterparts, who were mostly trying to prove they could do what their male colleagues could, Fargeat showed what female directors could add to the world of cinema. Revenge was a dedicated genre film that didn't pull any punches, but it was different enough to stand out in a genre already overcrowded with edgy and dark material. If anything, The Substance is a reminder that this wasn't just a stroke of luck, but an inherent quality of Fargeat's directorial skills.
The Substance references other films in various genres, but that doesn't mean it feels derivative. Sure enough, the body horror can easily be linked to Cronenberg and Tsukamoto, the manic middle part shows traces of Aronofski's Requiem for a Dream and there is a touch of Kubrick in the visuals, but I wouldn't compare the film to any of these influences directly. They feel more like a crutch to help describe to others what they can more or less expect. I had a similar experience with Poor Things this year, another one of those films that exists in a world of its own.
Elisabeth is a popular entertainment icon, but her success starts to wane as she ages. Her fitness show is moved to the morning slot until the network decides it is time for a more drastic change. They want a younger, more appealing woman to draw in the viewers. Elisabeth is devastated, but a nurse in the hospital lets her in on a little secret. There is a special treatment on the black market that can turn her into the best version of herself. Elisabeth isn't keen on the idea at first, but after spending a depressing night in the bar she figures things can't get much worse.
The cinematography is loud and bold. Fargeat loves flashy colors (the color palette seems to reference the 70s there, but the look's been modernized), the camera work is aggrandizing, and the editing is snappy and aggressive. The horror is also quite graphic, the third act in particular feels like an odd combo between arthouse and grotesque horror. Nothing about this film is subtle, which is perfect for someone who loves maximalism. The only critique is that the prosthetics of Elisabeth's final form felt a bit off. I realize people love old-school effects, but they could've done a slightly better job there.
The sound design is slick and effective. It's not the most notable score, the music sticks to what is known to work, but it's more than just a bit of background noise. Smart use of volume and expressive compositions underline and add to the intensity of the key scenes, while other moments are completely silent, driving up the tension. It's not entirely up to par with the visuals, but it's certainly a lot better than the average blockbuster and I'm known for being nitpicky when it comes to scores. The main point is that it doesn't disappoint, there's just a little bit of unfulfilled potential there.
The casting on the other hand is impeccable. Demi Moore is an amazing choice, in part because of real-world parallels. The way she committed to this role is exemplary though. Margaret Qualley is just as good and she was visibly enjoying playing the bubbly but ego-driven younger version of Elisabeth. Also props to Dennis Quaid, who goes all-in on the detestable and fame-hungry TV manager who only cares about optics and success. Again, all the performances are quite extra, there's no subtle characterization, but it fits in perfectly with the rest of the film.
After a short introduction, the film quickly shifts into body horror mode, with a tiny sliver of sci-fi on the side. Fargeat makes it visceral and expressive, but that still didn't prepare me for the final act, where she pulls all the stops, no holds barred. It's a level of excess I didn't expect to see in a film like this, which is probably why it had such an impact. It's a divisive ending, that much is certain, but in light of what came before it's not out of line. It's just that most people won't expect to see anything remotely close to it in a film like this. Fargeat pulling that off is something for the ages.
Revenge was a great little genre flick that showcased Fargeat's budding talent, The Substance is the ultimate proof that she has it in her to become one of the greats. It's a bold, inventive, and provoking film, sporting superb performances and a lush presentation, adding to rather than stealing from the work of geniuses that came before her. I'm not sure where Fargeat has to go from here, The Substance is a tough film to follow up, but I'm sure she won't disappoint. And even if she does, bringing a film like this to theaters has bought her more than enough credit to survive a couple of mishaps in the future.