The Substance: A Chilling Critique of Society’s Obsession with Youth

The Substance is a body horror/science fiction movie with a dark psychological grip, which progressively becomes more and more gory towards the end.

Demi Moore plays Elizabeth Sparks, a Hollywood actress who’s the face of a workout program. Think neon colors, '80s style, with spandex and leg warmers. Her face is everywhere; she’s a star, with billboards plastered with her image. She’s living the dream. That all comes crumbling down when she overhears the head of the television network (Dennis Quaid) ranting about how they need a fresh face - a younger, fitter face.

Nothing new here. The premise of the movie is an incisive societal critique on how women are discarded, especially in media-facing roles, once they are no longer considered “in their prime”. The topic has been explored time and time again - take Brazil by Terry Gilliams, for instance, a clear inspiration for Fargeat. Remember the iconic image of the stretched-out face, a grotesque nod to facelifts? That movie came out in 1985. You’d think we’d have evolved by now, that body positivity would’ve shifted the narrative, but for every small step forward, the patriarchal, capitalist world pulls us back.

It’s even worse today because we are constantly targeted by social media’s impossible beauty standards and the trends are only getting more insane. From surgical options like botox and facelifts to non-invasive trends like microneedling and red light therapy, the pressure is constant. And if you can’t afford those, you’re drowning in a sea of skincare routines - gua sha, Korean products, snail mucin (yes, that’s a thing - I’ve tried it). Influencers promise miracle results, often paid to sell you the next best thing. It’s a rabbit hole, and once you fall in, it’s hard to climb back out.

THE DARK TRADE OFF

What happens to Demi Moore in The Substance is not much different, she meets someone who promises her that this mysterious product is the key to youth and beauty; the miracle cure that will change her life. But what it does is far darker. It literally drains the life from her, extracting her bone marrow to create a younger version of herself, Sue (Margaret Qualley). To maintain this unnatural existence, they must alternate weekly - one conscious while the other remains dormant. However, Sue requires daily "stabilization," which involves taking even more from Elizabeth’s bone marrow, accelerating her physical decline. We soon learn that Sue is no puppet spewn out of Elizabeth’s body - she has her own will, her own desires, ambitions and self interests. 

What happens is inevitable. Sue tastes life and craves more. She starts by taking an extra day here and there, then slowly takes over entirely, draining Elizabeth’s body to the brink of collapse. The take over is not only physical. She replaces Elizabeth’s in the world too by becoming the new star of the aerobic show; the younger, fresher face the television networks fired Elizabeth’s for.

Elizabeth starts to resent Sue, but she also envies her. The massive billboard of Sue outside her apartment certainly doesn’t help—it’s a constant reminder of what Elizabeth no longer is. Her insecurities grow louder, drowning her in self-doubt. What started as a desperate bid to maintain beauty becomes a relentless magnification of her flaws. 

As Sue starts taking from her more and more, Elizabeth becomes more and more reclusive, unable to be out in the world anymore. Visually the movie does a fantastic job at depicting this downward spiral, often portraying Elizabeth in dim lighting or surrounded by food scraps to evoke disgust. One striking scene shows her getting ready for a date, where the paralyzing fears and doubts take centre stage. 

She is planning to go on a date with a man she previously dismissed, but his validation - that she is the most beautiful woman in the world - is now the anchor she holds on to. Yet, every step closer to leaving the apartment brings her face-to-face with Sue’s billboard, freezing her in place. She applies another layer of makeup, adjusts her clothes, and covers up her chest more each time, until she finally gives up, cocooning herself on the sofa in front of the tv. 

This constant comparison is exhausting - not just for Elizabeth, but for women everywhere. Society pits women against each other, but what happens when that competition is with a younger version of yourself? Yes, the movie is a body horror science fiction crazy ride, but the scary part of it all, is how relatable the movie actually is.

Performances, Visuals, and Influences

Demi Moore and Margaret Qualley compliment each other beautifully on screen. Dennis Quaid also shines, his over the top character embodies an ‘80 vibe with cartoonish flair, and a touch of Lynchian absurdity that somehow works. 

Kubrick’s influence is unmistakable in the film, from the sterile bathroom where the "body switch" happens - a clear nod to the bedroom in 2001: A Space Odyssey. And I almost shouted at the screen at a climactic moment that unmistakably referenced 2001. I won’t spoil it, but if you’ve seen the movie, you’ll know the scene I mean.

Fargeat directs with precision, particularly in her treatment of Moore’s and Qualley’s bodies. Moore is not afraid to shed her clothes for a role, but in this case there’s no sexualization to her nudity; instead, her body is shown in a detached, almost clinical way, highlighting vulnerability. It’s a stark contrast to the hyper-sexualised depiction of Sue, whose youth and beauty make her the object of desire. This dichotomy underscores another societal failure - only youth is seen as beautiful or worthy of sexual attention. Once past a certain age, women are ignored, almost desexualised.

A Grotesque Finale: Pushing Boundaries

The movie transitions into grotesque and almost parodical territory toward the end, leaving me shocked and wondering what on earth was happening on screen. In some ways, I had anticipated a climactic confrontation between the two characters, but the twist the film takes feels entirely out of left field. The ending spirals into an absurd and surreal escalation, pushing the boundaries of the abnormal.

Ultimately, The Substance is more than just a body horror spectacle. It’s a cautionary tale about the relentless pursuit of youth, the never-ending chase for perfection. You take a little more and a little more, but it’s never enough. It’s a film that shocks, unsettles, and leaves you grappling with its absurdities long after the credits roll. The blend of body horror, psychological tension, and dark satire creates a uniquely disturbing experience. Love it or hate it, The Substance forces the audience to confront the uncomfortable truths lurking beneath its gory spectacle.

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