The film revolves around a former Hollywood starlet whose aerobics TV show is abruptly cancelled as she had turned 50 where she is given a mysterious flash drive about a black-market drug known as the Substance that would allow her to become a younger and better version of herself but with some rules. It is a film that explores many themes including aging, body imagery, and the male gaze towards the women they exploit. Coralie Fargeat’s screenplay does have a straightforward narrative where it explores the world of Elisabeth Sparkle (Demi Moore) as she was this celebrated figure with a star on the Hollywood Walk of Fame that has been treated with indifference despite the popularity of her aerobics show. Its cancellation is abrupt because she just turned 50 as its producer Harvey (Dennis Quaid) made the decision in the hopes he can get someone younger to drive up ratings. After a car accident, a nurse (Robin Greer) gives Sparkle a flash drive about this drug known as the Substance where she is intrigued by it while also following its specific instructions.
Upon using the Substance, its activator can only be used once where Sparkle’s body becomes unconscious while her new body in Sue (Margaret Qualley) can be conscious but only for seven days as they would have to switch places with no exceptions with balance being key to its success. Sue would get the attention of Harvey following an audition as she would get her own fitness show where ratings go through the roof as she would crave more fame and fortune. Thus, she would break the rules of using the substance which would cause parts of Sparkle’s body to age rapidly. Fargeat’s script doesn’t have a lot of dialogue throughout the film other than moments where events in the second and third act where Sparkle starts to mentally unravel over her physical state as she becomes resentful towards Sue for breaking the balance of their usage of the Substance. For Sue, she becomes annoyed with Sparkle’s own behavior antics that threatens her career as things start to get out of control.
Fargeat’s direction is stylish in every sense of the word in how the film opens with the Substance serum injected into an egg that splits into two and then cuts to Sparkle getting a star in the Hollywood Walk of Fame. Shot on various locations in France with Cote d’Azur being the exterior double for Los Angeles and interiors shot in studios in Paris. Fargeat creates a film that is set in a hyperactive world where it is about giant billboards, flashing cameras, how many people are seeing you, and everything that comes with fame. Fargeat emphasizes on extreme close-ups and medium shots to play into this manic world of celebrity culture as well as the fact that women are often exploited for reasons beyond their control. Fargeat doesn’t hold back when it comes to the male gaze in scenes where Sue is hosting her show with a lot of close-ups of her ass and cleavage being a key part where sex sells. While Sparkle is a beautiful woman for her age, she is not what Harvey wants where there are scenes of her fully-naked where the flaws of her body come into play as it play into Sparkle’s desire to use the Substance. There are wide shots to play into the growing sense of disconnect that happens for Sparkle as she tries to distance herself from Sue.
Editing with Jerome Eltabet and Valentin Feron, Fargeat emphasize on different editing styles such as the overly-stylized fast-cutting common with Hollywood films to play into the chaotic world of celebrity culture. Yet, Fargeat would know when to slow things down as it relates to Sparkle’s own declining physical and mental state where she would also use tracking shots for both her and Sue walking down the hall towards the bathroom. Even as the camera would show them walking from their point of view where it is presented in a hand-held style as if both women would get sick during their time in using the Substance. The second half is where the body horror comes as it doesn’t just play into Sue’s disregard for the rules of using the Substance but its effect on Sparkle where parts of her body would age. Even as there is a moment where Sparkle’s own abuse of her own body would start to affect Sue in a scene where she finds something in her body as it plays into this conflict between the two women.
The film’s third act is where the body horror is intensified as it plays into the fallacies of beauty and fame with Sparkle wanting to end it all just as Sue is about to host a big New Year’s Eve special on TV. What would happen afterward would play into the desperation of wanting to be beautiful and the eventual result is shocking. Shocking would be an understatement to describe the film’s climax as it goes beyond the parameters expected in body horror where Fargeat goes all out and then some. Overall, Fargeat crafts a horrifying and provocative film about an aging starlet taking a mysterious substance where she creates a young woman who shares her consciousness.
Cinematographer Benjamin Kracun does brilliant work with the film’s vibrant and colorful cinematography for many of the daytime interior/exterior scenes as well as the scenes in the bathroom along with some stylish lighting for the interior/exterior scenes at night. Production designer Stanislas Reydellet, along with supervising art director Gladys Garot plus set decorators Cecilia Blom, Marion De Villechabrolle, and construction manager Jacques Oursin, does amazing work with the look of the condo that Sparkle lives in as well as the studio hallway where Sue would work at and the office that Harvey works at in all its awful grandeur. Costume designer Emmanuelle Youchnovski does excellent work with the costumes in the revealing fitness clothing that Sue wears for her show as well as the yellow coat that both women share. Special effects makeup designer Pierre Olivier Persin does phenomenal work with the makeup as it is the highlight of the film in the prosthetics breasts of Sue as well as the aging makeup for Sparkle due to the unbalanced effects of the Substance as it is a highlight of the film.
Special effects supervisors Pierre Hugueny and Jean Miel, along with visual effects supervisor Bryan Jones, do terrific work with the visual effects for some set-dressing in scenes outside of the condo as well as other visual elements that play into the horror of the film. Sound designers Valerie Deloof and Victor Fleurant do superb work with the sound in the way Harvey eats shrimp in the most disgusting of ways as well as some of the sparse sound textures in the film that play into the sense of horror and suspense. The film’s music by Benjamin Stefanski, in his Raffertie pseudonym, is incredible for its warbling electronic score that has elements of pulsating sounds and textures to play into Sue’s world but also some somber pieces that play into the horror and anguish that Sparkle goes through while music supervisor Guillaume Baurez creates a soundtrack that is filled with some electronic pieces from Holy Fuck with Lucia Tacchetti, Romanger, Earl Gregory, Thomas Kuralti, and a couple of score pieces by Richard Strauss and Bernard Herrmann.
The casting by Laure Cochener and Lea Moszkowicz is fantastic as it feature some notable small roles and appearances from Vincent Colombe as one of Harvey’s executives, Yann Bean as the voice of the Substance, Hugo Diego Garcia as a lover of Sue that appears in the third act, Oscar Lesage as another lover of Sue who is a biker, Tom Morton as a doctor who examines Sparkle early in the film, Robin Greer as a young male nurse that would give Sparkle the flash drive for the Substance, Gore Abrams as a neighbor of Sue/Sparkle, Edward Hamilton Clark as a former classmate of Sparkle that she bumps into whom she almost goes on a date with, and Christian Ericksen as a mysterious old man Sparkle meets at a diner. Dennis Quaid is great as the TV producer Harvey as Quaid goes all out as a man who is the most despicable person in the world. A man that eats large shrimp in the most disgusting of ways that makes all the body horror seem tame in comparison while he is an absolute misogynistic asshole that anyone who comes across with would want to punch him in the face.
Margaret Qualley is phenomenal as Sue as the younger version of Sparkle that comes out of Sparkle’s body where Qualley displays a great sense of physicality into her performance as someone that is fit as well as being able to do the kind of fitness that a fitness model needs to do. There is also a complexity in her personality in the way she presents herself publicly as well as dealing with what Sparkle has done to herself, showcasing a dark edge that would be her own undoing. Finally, there’s Demi Moore in a performance for the ages as Elisabeth Sparkle as a former actress/TV fitness personality who had just turned 50 and lost her job as she copes with aging and not knowing what to do next. Moore brings a lot of wit to her performance once her character starts to age as there is a physicality and a dark edge into her performance where Moore goes all out and then some as it is really the performance of her career.
The Substance is an outstanding film by Coralie Fargeat that features a tremendous leading performance from Demi Moore as well as a great supporting performance from Margaret Qualley. Along with its study of aging, vibrant visuals, a hypnotic music soundtrack, discomforting sound effects, and the incredible special makeup effects that pushes the idea of what body horror could be. It is a film that doesn’t hold back in terms of its exploration of an industry that exploits women and the pressures to be beautiful as well as the effect on those who are forced to retire when they still have much to offer. In the end, The Substance is a magnificent film by Coralie Fargeat.
Revenge (2017 film)
© thevoid99 2024
No comments:
Post a Comment