Nik Lackey’s review published on Letterboxd:
Coralie Fargeat’s ‘The Substance’ (2024) is preemptively knowing about its own place in culture right now. There is a lot going on in this body horror film about women’s visual struggle, and I can definitely agree to say that this movie is def worth commentary. This horror feature is so precise in its execution, there is no doubt the viewer can obtain a knowledge of filmmaking on a decently prestigious level. On top of that, this is also just an exciting and ambitious genre piece that calls back to the classic films of David Cronenberg and many other fortuitous horror pictures. I can see why this has been such a craze, while at the same time it still surprises me. One thing is definitive though, no one should miss this movie.
‘The Substance’ (2024) being a very stylized and kinetic film means there are technics in front of and behind the camera. Right off the bat I took notice of the camera work that staged the entire scenery. The usage of quick edits, strong cuts, and unconventional camera movement all fit in perfectly with what the story was trying to be. To add to all of this, the production style, and the usage of color absorb the surroundings as well. There are very few moments, if any, where a scene is not detailed for a reason. Traits like this to a movie of this scale is impressive, but also vital in the connection with the audience. If you don’t understand the meaning of this film, you’ll surely appreciate the craft.
Coralie Fargeat is clearly a fan of cinema, because ‘The Substance’ (2024) is packed full of homages, references, and love letters to many films. The obvious connections are the works to David Cronenberg, and his usage of body horror. The connection of suffering with transmogrification flows through his films as loudly as it does in this one. Other films with clear homages are, ‘Frankenstein’ (1931), ‘The Shinning’ (1980), ‘The Thing’ (1982), ‘Society’ (1989), ‘Pulp Fiction’ (1994), and so many more. Some of these nods are more clear than others, but it’s always a fun treat to dive into a movie and point at the screen in excitement.
‘The Substance’ (2024) is simply a film about substance abuse, addiction, and loss of control in one’s self. We can see how the addiction to looking young and beautiful can drive one mad, but at the same time, the struggle of withdrawals and overdoses, much like serious drug usage. There is a moment in the film, where we realize all control in the characters self is lost. It’s the tipping point where you realize an end is inevitable, but not likely to be positive. The way we see the hard come downs like someone who is going into withdrawals is stinging to say the least. The pleading and the desire is piercing as the movie doesn’t let you catch your breath. Then, it all runs out, and that’s how the movie expresses the horror of substance abuse.
Beauty is a massive factor of this film, and it’s the entire reason this movie is drawn forward. The verbiage and context made about females and their appearance is all over this film, in complex and divisive ways. To compare this, the film also allows itself to get drowned into a strong color palette of white. The color on the tiling indicates the cleanness of the characters, and the way it can simply be smudges that much more quickly. The standards for these characters are exploited throughout the entire movie, and it helps us sympathize with the struggle. The limits get pushed and for an unfortunate outcome, it’s clear to see how the spiral keeps on turning in their heads
Some audience members might not appreciate a film that feels like it needs to hold your hand. However, others tend to enjoy it. I stand on the former most times, but with a movie as complex and creative as ‘The Substance’ (2024), I find the necessity of guidance a must. We get a few bursts of explanatory dialogue, because the pacing of the film always allows for it. This also helps create a well structured and unique film. We get a strong start and a guidance of good gesture. The film builds its intensity with a sturdy frame, then allows for a crashing climax into a quickly drawn conclusion. Sometimes a film needs some structure like this, especially if it’s running through unconventional ideas.
Demi Moore and Margot Qualey both Star in this psychotic and chaos driven film about beauty and desire. Moore really takes on a brave and courageous performance with this role, allowing herself to not be glamorized in the slightest. On the other hand, Qualey pushes the boundaries of what her youth and beauty can do on the screen. It’s fair to say these two actors have a real dialogue between them, and I guess I never noticed that until this movie paired them. Both Moore and Qualey give some stunning performances in ‘The Substance’ (2024), and it’s great to see this style of acting isn’t dead.
In a body horror film, it’s important to get the visuals and special effects just right. That is the one thing a real fan will be able to differentiate and dissect in any good body horror film. For ‘The Substance’ (2024), it’s clear a bit of both worlds was used. There are some remarkable soecial effects in the film, especially by the last thirty minutes. It’s over the top, ridiculously gory, and so much fun. The creature we see is an obvious homage to the beloved ‘Society’ (1989), and the effects mark it perfectly. Then there is also a bit of CGI that has to be used, at least to the naked eye. With how polished and clear this picture is, I understand the intention. For a contemporary body horror film, I must say bravo for delivering the goods, this is why horror cinema is still alive.
After sitting through two hours and twenty one minutes of pure adrenaline on screen, I had to stop and think who was this movie getting to? It’s obviously a satire on the female gaze, and how agonizing aging can be. However, this is also just a deeply graphic and over the top disgusting film that isn’t typically the most accessible to a broad audience. However, I still think it’s pretty fantastic that ‘The Substance’ (2024) has gotten the praise it has for as long as it has. This is by far one of the more interesting films of 2024, and you can say what you want, but that’s a fact. I’m glad I finally got around to seeing this, so if you missed it, do yourself a favor and sit down for the ride.
![kaylee :]](https://a.ltrbxd.com/resized/avatar/upload/7/6/8/4/6/6/9/shard/avtr-0-80-0-80-crop.jpg?v=c4e817afa1){kind=small}
