Demi Moore and a vivid color scheme shine in The Substance

As a longtime cinephile with a penchant for the unconventional and the grotesque, I must say that Coralie Fargeat has quickly become one of my favorite directors. Her latest offering, “The Substance,” is a masterclass in unsettling audiences while simultaneously dissecting societal norms.

Director Coralie Fargeat has crafted two unique films, with her debut Revenge released in 2018, followed by her latest offering, The Substance, gracing cinemas nationwide. Fargeat’s thematic inclinations are apparent from these two productions; however, a notable recurring artistic element in her work is her audacity to portray truths that other filmmakers often shy away from – finding the act of eating rather unappetizing. In Revenge, a male character’s snack-eating was shown in excruciating detail during a violent scene. Similarly, in The Substance, we are given prolonged shots of character Harvey (played by Dennis Quaid) devouring shrimp while delivering grim news to Elisabeth Sparkle (portrayed by Demi Moore).

These scenes may initially cause audiences to shudder, as they’re filled with gruesome imagery that precedes on-screen eruptions of gore. Yet, these moments also underscore Fargeat’s unique ability to expose unsettling actions hidden within everyday life, along with her striking portrayals of casually crass behavior that men often manage to evade scrutiny for. This understanding of the world is what truly sets The Substance, Fargeat’s latest gritty masterpiece, apart.

Previously famed actress turned fitness program host, Sparkle, has been informed that due to her reaching a specific age, her television career is coming to an end. Power broker Harvey and a dominant faction of shareholders no longer wish for her to be on screen. Seething in silence over this turn of events, Sparkle finds a possible rescuer in a mysterious substance called The Substance. This peculiar liquid generates a younger version of a person who emerges from the spine. In this instance, Sparkle acquires an alternate persona named Sue (Margaret Qualley), who assumes Elisabeth’s original role on television. However, there is a challenge: these two women cannot coexist simultaneously. They must swap weeks to remain active. Sparkle has one week, followed by Sue the next, and so forth.

At first glance, everything appears to be going smoothly given Sue’s immense popularity. She truly shines like a star! Yet, Elizabeth finds herself growing increasingly troubled. Most distressingly, her younger counterpart’s rising stardom grates on her nerves. Matters worsen when Sue takes independent actions that harm Elizabeth. As The Substance begins, Elizabeth receives crucial guidelines over the phone. Essentially, she must never view herself and Sue as distinct individuals. This guidance goes unheeded as things deteriorate further in The Substance.

Fargeat’s screenplay cleverly infuses dark humor, with the most amusing aspect being the design of the Substance process. Company envelopes connected to this feature are swathed in stark black and minimalist branding, reminiscent of Lootcrate packaging. Storage containers for fresh doses of this Substance mirror typical Amazon Lockers at Whole Foods markets. Contrasting this heightened element with common Silicon Valley-endorsed materials is a creative touch. Items can be neatly packaged and stored in the most ordinary ways, even potential cures for your existential doldrums!

Demi Moore interacts with the creative elements in the film’s set design and props, shining brightly in her role as Elisabeth Sparkle. Since its premiere at Cannes, her exceptional work has garnered significant attention and acclaim for this feature. She truly deserves all the buzz and more. Demi Moore serves as a compelling focal point for this unconventional narrative, offering a grounded humanity that anchors the rest of the story. Her portrayal of Sparkle could easily fit in an authentic indie film. While Moore can deliver electrifying performances, such as her characterization of a frustrated Sparkle mocking Sue’s arrogant TV interview, it is her subtle expressions of vulnerability that truly stand out in her performance.

This is most clearly demonstrated in a silent sequence depicting Sparkle’s efforts to prepare for a date, repeatedly stepping back to her bathroom to adjust her appearance. Towering above her apartment is an advertisement of Sue, intensifying her self-doubts about her physique. It’s an incredibly impactful scene that wouldn’t have the same effect without Moore’s dedication to non-verbal acting. This stands out as a peak performance, but it’s just one of many instances where the protagonist in Ghost, played by Moore, truly excels. She brings a genuine emotional depth to Sparkle’s internal conflicts, even amidst the chaotic narrative of The Substance.

The main issue with Moore’s portrayal is that her character is so captivating that one wishes for more of her screen time, especially when the script concentrates solely on Sue. Margaret Qualley brilliantly embodies this crucial character in “Substance”, yet her performance doesn’t hold the same appeal as other main actors. This could be intentional, given that Qualley’s character is deliberately portrayed as empty or void of strong personality traits. Fargeat’s script uses Sue to critically examine the notion of ideal femininity in Western entertainment. Sue doesn’t challenge the status quo or show distinctive characteristics that might deter men, which aligns with her thematic role. Qualley delivers this concept with commendable dedication.

In her performance in Sanctuary, Qualley made significant improvements but fell short of extraordinary. Her choices were noticeable yet not groundbreaking, which seemed to influence Moore and Quaid’s performances as well. Qualley’s portrayal of a deliberately stereotypical “star” personality required more daring embellishments.

In the assessment of performance and rhythm, Qualley’s portrayal in “The Substance” is somewhat uneven. However, the film truly excels in its most striking visual elements. The makeup and prosthetics team, led by Stéphanie Guillon, consistently delivers gruesomely effective work throughout the movie. Additionally, production designer Stanislas Reydellet and costume designer Emmanuelle Youchnovski collectively create a captivatingly vivid world filled with colors that could easily match those found in Pedro Almodovar films or classic Technicolor musicals. Even the kitchen of Sparkle’s home is adorned with vibrant shades, ensuring every Los Angeles location resonates with visual appeal.

In this version of Tinseltown, the vibrant tones evoke a realm where dreams are realized. Yet, these storybook shades seem to deride Sparkle and Sue as they grapple with the sexist struggles inherent in the movie business. The facade of tranquility on the walls is belied by the discord in Sparkle’s heart, which echoes a different tune. The meticulous cinematography, skillfully executed by Benjamin Kracun (with an emphasis on specific lenses that exaggerate characters like Harvey into caricatures), transforms ordinary settings into eerie and chilling landscapes. These artistic choices also hint, albeit fleetingly, at a disturbing nightmare. Is this any surprise, coming from the mind of Coralie Fargeat?

2024-09-20 19:15

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