Quick Synopsis: Elisabeth Sparkle is an ageing actress who has just lost her job as the host of an aerobics TV show. Desperate to regain her “sparkle” she takes a serum which causes a younger version of herself to “hatch”, with one rule; she must switch between the two versions every week, without fail.

I am so glad this was directed by Coralie Fargeat. As anybody who watched 2017’s Revenge can attest, she’s talented as hell. She is the perfect director for something like this, injecting standard scenes with an air of creepiness. She also makes some incredibly brave decisions, mainly to do with holding a shot MUCH longer than most directors would, uncomfortably long at times. She sets her standards in the opening shot, where we see a star on a Hollywood Walk of Fame get created, and then see it age and decay. Not only is it a beautiful sequence (plus weirdly fascinating), but it’s also thematically appropriate; seeing a star be damaged by the pressures put upon it alongside the natural damages caused by time passing, well it’s not exactly subtle, is it?

The other reason I’m glad Coralie directed this is because it needs to be directed by a woman. It’s a female story. Yes, the worries of ageing and not feeling as sexy as we once were are worries shared by everybody, but it hits women harder because they’re judged for it more harshly. Also, if this was directed by a man then some of the shots would be a bit creepy. I’m not saying they’re odd shot choices, but when a film is telling you about the pressures of enforcing societal expectations of constant youth and beauty on women so that they see being old as a character flaw, but then the next shot is full of VERY close-up of a young woman buttcheeks in exercise clothes, well it can feel like mixed messages.

The young woman with the zoomed-in buttcheeks? Margaret Qualley, who plays a “more perfect” version of Demi Moore’s character. Annoyingly, there is no point in which they seem like the same person. There are no shared quirks or physical tics. They seem like completely separate people, which I know is sort of the point, but I would like to buy into the concept that there is some shared nature between the two of them considering the mind they share is the same.

The moment when they split is truly disturbing. It’s one of the most disturbing things I’ve seen all year, and I’ve watched a lot. Coralie is great at body horror, and it’s those moments which drive the freakishness of the narrative, especially in the final third which is just batshit insane. Normally I say “batshit insane” and it’s a compliment, here it’s not. I liked it, but for some reason, it didn’t hit me. Possibly because it took FAR too long to get to the obvious moments. At one point, it repeats a dream sequence/hallucination from a few minutes earlier, and with no new context or reason for it to exist again.

This may seem like a negative review, and that’s because there is quite a fair bit to dislike about The Substance. It’s unsubtle at times, it’s FAR too long, and it wastes sooo much potential. But there’s also SOOOO much to like and appreciate. It’s stylish, it’s darkly funny, and it needs to be unsubtle to get the message through. I did like it, but I wouldn’t say I “enjoyed” it, at times it was a struggle to continue paying attention. It’s an important one, it’s a spectacular one to see unfold in front of you, but it also needs about 10 minutes cut from it. It’s utterly horrific, but also completely fascinating.

In summary, it’s a dichotomy. Which I suppose also suits the themes.