Body horror film "Substance": plot, cast, and creators

Contents:

• What is the film about?
• What are the characteristics of the female characters?
• What was the author's main idea?
• What does it look like?
• What alternatives might be preferable?

The Substance premiered at the 2024 Cannes Film Festival, where it won the Best Screenplay Award. This is the second work by the French director, who expresses her thoughts through cinema; the first was The Revenant, released in 2017. In both films, the main characters face patriarchal structures and strive to defend their freedom.

In her first film, Farge addressed the topic of excessive sexualization of women against the backdrop of dynamic scenes with shootouts and car chases. In her second work, she continues this theme, but does so in a more restrained manner, albeit with no less cruelty, using ironic body horror as the main prism of perception.

In this review, we will consider the reasons why the film "Substance" can be considered among the most provocative films of this year. We will analyze the following aspects in detail:

• the plot of the film;
• its main characters;
• the central idea of ​​Coralie Farge.
• in technical execution;
• issues that cause controversy in the film.

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What's the film about?

Elizabeth, known for her role as an Oscar-winning actress and bearing the last name Sparkle, once truly shone on screen. However, over time, her fame has faded, and now she hosts a regular fitness show for housewives. This would seem to be a good exit for an actress whose career has come to an end. However, even in this capacity, Elizabeth doesn't last: viewers leave her program, and ratings are rapidly declining. The producer, leaving her no chance, directly hints that someone younger will take her place.

At this critical moment, Sparkle comes across information about a drug called "Substance." A single injection unlocks the ability for a person to create a younger version of themselves, allowing them to use the new body as they wish. However, as in any story, there are important limitations. The first rule is that a copy created from the original can only replace its "host" every two weeks. The second rule requires that while one body enjoys life, the other be nourished with a special substance. Failure to comply with these conditions leads to serious consequences: the inactive body will gradually begin to deteriorate.

In a desperate attempt to return the slipped years, Elizabeth decides to take part in an unusual experiment. After an injection, a 20-year-old beauty named Sue (Margaret Qualley) emerges from her back like Dionysus emerging from Zeus's thigh. While Elizabeth remains motionless on the bathroom floor for weeks, her replica auditions for a leading role in a fitness show. Sue dances so energetically in front of the cameras to Danzel's "Pump It Up" that she soon becomes a true celebrity.

Everything goes well from the start; both versions behave properly and follow the established rules. However, after a while, Sue begins to misuse her time. This destroys the delicate balance and ultimately causes serious problems.

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Marilyn Monroe, who became the embodiment of the ideal of femininity in the mid-20th century, is an interesting case in the context of feminism. Although her image was often associated with naivety and frivolity, she became an iconic figure in the fight for women's rights.

Monroe was not only an outstanding actress, but also a woman who understood her position in the entertainment industry. Her career began in an environment where women were often perceived as objects rather than individuals with rights and desires. She skillfully used her looks and charisma to break into a male-dominated world. However, behind her striking image lay a deep personality that strove for independence and self-expression.

As a symbol of feminism, Monroe embodied the complexity of the female experience. She defied stereotypes, showing that beautiful women could be intelligent and strong. Her work and life became a role model for many, inspiring women to fight for their rights and freedom of choice. Thus, Marilyn Monroe was transformed from a "dumb blonde" into an iconic figure representing new feminist ideals and opportunities for women.

What are the characteristics of female characters?

The opening scenes of the film vividly and wordlessly illustrate the career of Elizabeth Sparkle. A star is installed on the Hollywood Walk of Fame in her honor, but over time, interest in it fades. People stop taking photos with the monument, and it is gradually forgotten. The star begins to crack, and a clumsy passerby accidentally drops his lunch on the celebrity's name, splashing it with ketchup - this seems to foreshadow that the viewer will encounter many unexpected events in the future.

The problem isn't a loss of charm or a lack of desire to perform on stage—it's simply that an aging body no longer holds audience interest, and it's time to part with it. The producer is quite frank in this regard, presenting the actress with a cookbook as a caustic joke. There's no room for personal feelings or regrets here—these are simply the laws of the entertainment industry.

Elizabeth is so depressed that she gets into a car accident on the way home. After a checkup with a doctor who shows concern for her, she receives a flash drive with a commercial for "Substance" as a gift. Thus, Sue is born—a perfect example in every respect. The younger version of Sparkle has no physical flaws, and the interested glances of the casting directors confidently confirm: she has been approved for the role of the show's new host.

Both actresses showed amazing dedication to their roles, demonstrating considerable courage. They must rely not only on their voices and emotional expressions, but also on their physical abilities. In this film, Margaret Qualley embodies the concept of "sexualization" as described in feminist textbooks, while Demi Moore often finds herself in front of the mirror, examining her wrinkles and folds. Although she's already 61, this hasn't stopped her from undergoing a series of physical challenges on screen: the camera eagerly captures the imperfections of her appearance, and the makeup artists don't spare the actress in the final scene.

This approach shouldn't be seen as an attempt to exploit appearance, but rather as a requirement of the genre. In body horror, bodies often act as independent performers: they are fully engaged in the action, revealing not only the depths of their souls but also their intimate parts. Without this element, it is impossible to achieve true catharsis.

What was the author's main idea?

Behind the many references to the works of Cronenberg (disgusting ASMR-style slurping and extreme moments), Ducournau (emphasis on the physical aspect of the characters), Refn (an abundance of neon shades and contrasting red and blue colors), Kubrick (music from "2001: A Space Odyssey") and even Stephen King (bloody scenes, like in "Carrie"), there is something deeper than just an entertaining film with spectacular scenes.

Coralie Farjat makes her point clearly: high demands on appearance and audience expectations sometimes take absurd forms. In the world of cinema, the female body is often not the property of women, but belongs to producers or an audience that craves on-screen spectacle.

In such fitness programs, excessive emphasis on sexuality obscures the significance of the content, flaunting only the outer appearance. Who's really interested in watching ordinary aerobics? Sue's fiery twerk is a completely different matter. This program seems like a relic of a long-gone era, echoing the vibrant color diversity and cult of physical attractiveness of the 80s. However, as experience shows, a show can continue to exist indefinitely if there is something to attract viewers' attention.

What does it look like?

The ideas expressed by the Frenchwoman find support in the techniques of her colleagues. For example, cameraman Benjamin Krakoun constantly uses zoom in on close-ups to demonstrate two completely opposite views on the concept of "physiological". On one hand, there are aging producers grimacing, slurping, and drooling, while on the other, there are slender women with flawless skin, jumping around in revealing outfits, hoping to attract attention.

Krakun masterfully distinguishes between moments when it's necessary to emphasize the absurdity of a TV show with dynamic cutting, and when it's appropriate to convey the heroines' loneliness through static, wide-angle shots. The cinematographer often experiments with spatial solutions: the characters' depressed state is beautifully conveyed in endless corridors and empty, lifeless locations. The most difficult moments of experience are filmed from a first-person perspective, allowing the viewer to literally step into the heroines' shoes.

The image is free of unnecessary details: the frame is mainly occupied by either faces, figures, or, excuse me, objects. This minimalism in most scenes helps focus on the heroines' storyline, preventing distractions from the structure of this mysterious world, which can be characterized as either a retro-future or a reimagined present.

The pace of the story is enhanced by the music created by DJ Rafferty. In "Substance," the soundtrack before Sue's birth is often monotonous, oppressive, or completely absent. However, with the introduction of a "firecracker," the music takes on a vibrant and powerful rhythm, reminiscent of Luca Guadagnino's recent works, such as "The Pretenders." The energetic score heightens the immersion into the film's world, creating an atmosphere of both fear and discomfort, as well as madness and exhilaration. About fifteen minutes into the film, the viewer might be tempted to get up and try some aerobics. However, don't rush: this entertainment won't last long. The film, like a roller coaster, after a short emotional pause, suddenly accelerates and rushes into frightening depths.

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What alternatives might have been preferable?

The screenplay, which Coralie Farjat also worked on, has at least two obvious flaws: excessive length and an unnecessarily drawn-out ending.

The film runs for two hours and twenty minutes, although this is not particularly necessary. The plot could easily have been presented in an optimal 92 minutes without losing its central idea. The first hour and a half holds the viewer's attention, offering a fresh approach without repetition, but then the final part begins, which significantly overloads the preceding events. The characters return to old questions again and unnecessarily drag out the main contradiction, which makes you involuntarily check the time.

The ending of the film with an endless concert becomes a real test, causing the desire to exclaim: "I get it!" The creators clearly overdid it in their effort to explain every detail. As a result, leaving the theater, instead of the delight you felt in the first hour and a half, you feel only disappointment: "Why did they keep me waiting?" In fact, the credits should have rolled a few scenes earlier, leaving room for uncertainty and allowing the viewer to figure out the ending for themselves. But, alas, we have what we have. Despite its undeniable flaws, "Substance" can safely be considered an outstanding body horror film of this year. Moreover, it can lay claim to being one of the best horror films of recent memory. Audiences probably haven't seen such a combination of repulsive and simultaneously captivating spectacle since the release of Julia Ducournau's "Titan." Even David Cronenberg's "Crimes of the Future" didn't produce such a powerful shock. One can only hope that Farzha will learn from his mistakes and offer a more harmonious, but no less original work next time. (And now the author goes to wash and stare at his reflection in the mirror for a long time.)

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