“The Substance”, a French (allegedly) satirical body-horror film with an American cast from director/writer/co-producer Coralie Fargeat wears its allegorical underpinnings overtly. So officious, and rampant, are its allegories I suspect audiences might leave it with myriad (and likely) conflicting ideas of its primary critique. Societal perceptions of beauty, ageing in a youth-obsessed world, womanhood in a misogynistic society, addiction and self-hatred all coalesce in a provocative film with a finale that offers a spectacular and gory finale.
Since its premiere at Cannes earlier this year, where it won the prize for Best Screenplay, Fargeat’s work has been lauded for its audaciousness. “The Substance” is a meeting of prestige cinema and B-movie sensibilities and in some ways reflects a shift in what kind of works are taken seriously. Its premise is intriguing as it traces the rapidly devolving self-worth of Elisabeth Sparkle (Demi Moore), a faded Hollywood star whose 50th birthday finds her unceremoniously ousted from her current position as an aerobics host on a network morning show.