THE SUBSTANCE
Duration: 140 minutes. Rated R (intense violence, gore, graphic nudity, and strong language). In theaters Sept. 20.
One question kept surfacing in my mind while watching “The Substance,” a wildly outrageous horror film that premiered at the Toronto International Film Festival.
What on earth is wrong with these characters?!
Our assessment begins with the disturbed and deranged individuals in the story.
Elisabeth Sparkle, portrayed with flair by Demi Moore (seriously, what’s going on with her?!), is an Oscar-winning actress turned fading fitness influencer reminiscent of Suzanne Somers, living in a lavish Hollywood home adorned with massive portraits of her younger self.
When Elisabeth unexpectedly loses her job on her TV show, “Sparkle With Elisabeth,” she discovers an underground drug named the Substance, which claims to produce a youthful, more alluring version of oneself. A quintessential California narcissist, Elisabeth eagerly signs up.
As the film unfolds, we start to question the mindset of the incredibly talented writer-director Coralie Fargeat, whose French-inspired nightmares are vividly brought to life in this astonishing film.
Elisabeth’s decision to inject the bright green Substance leads to a gruesome transformation; her back violently splits open as her youthful clone emerges, reminiscent of a xenomorph from “Alien.”
The film establishes a strict rule: the young clone can exist only for seven days, while Elisabeth effectively hibernates, before they must switch back.
Almost immediately, Elisabeth’s gluttonous ex-boss (Dennis Quaid, delivering a comedic performance) casts the stunning clone, who adopts the name Sue, as the new host of a fitness program titled “Pump It Up.”
Upon waking, Elisabeth is bombarded with advertising featuring Sue, leading to a complex love-hate dynamic between the two.
Moore, showcasing her full range and often appearing nude, delivers one of her finest performances in recent years, transitioning from glamorous leading lady to a more grotesque figure in just over two hours. The exceptional makeup and prosthetics enhance her transformation, but the real horror lies beneath.
In contrast, Qualley spends much of her screen time smiling and exercising — never dull, yet her polished exterior masks a growing darkness and resentment.
Opportunistic Sue, unwilling to endure a week-long slumber after her seven days are up, resorts to drastic measures to stay awake. (Something is definitely amiss with her.)
This leads to a bizarre, twisted finale that is so outrageous and humorous that it’s hard to believe investors actually backed this project.
And as for the audience, there’s something peculiar about us, too.
I found this chaotic blend of desire, suffering, madness, and exploitation so entertaining that I’ve considered seeking therapy to process it all.
Perhaps it’s because, as absurd as it is, “The Substance” fits into a larger, campy tradition. The film serves as a modern, edgier counterpart to “Death Becomes Her” and evokes elements of “What Ever Happened to Baby Jane?” with its themes of envy and rivalry in a dual-woman LA household.
By the conclusion, it channels both “Frankenstein” and “Young Frankenstein.”
What sets Fargeat’s film apart — and may send some viewers rushing to the restroom — are its unsettling body horror elements.
This provocative, gory, and at times nauseating film is sure to spark debate when it hits theaters later this month.
Much like the titular drug, it’s challenging to give an unqualified recommendation without noting several potential side effects.
However, in today’s cinematic landscape, there’s nothing wrong with bold creativity, grand vision, and a dose of outrageous entertainment.
Moreover, in its clever critique of our youth-obsessed society, there’s an unexpected layer of depth, too.