The Substance is a bone-chilling sci-fi movie that metaphorically narrates the plague of stereotypes that compel many women to conjure a devil in their minds, constantly reminding them that they are not enough. Elisabeth (Demi Moore) is a 50-year-old, washed-up aerobic TV star instructor. Upon turning 50, the show’s director diminished her worth, turned his back on her, and sought to replace her with a younger star. Her insecurity drove her to discover a drug that she believed could reclaim her fame. Yet, she can only experience it as a third party. The experience evokes the covetousness of her younger self –Sue (Margaret Qualley). Hollywood’s vain and idealised values blindsided two brilliant stars and led them down a dreadful path.
The movie is an audacious and phenomenal work as it delves into existing stereotypes about women that have only been superficially discussed. The Oscar-nominated director Coralie Fargeat cleverly portrays the characters as speaking in opposition to society’s behaviour on the idea of women. For many years, the media and film industry have addressed the complexities of older women merely on a surface level, often portraying them as benevolent supporting actresses who lament their growing wrinkles, age spots, and grey hair. This paradox has affected their self-worth and alienated them from the audience. The movie encapsulates a few existing questions in such paradox: Should actresses hide their ageing features and be afraid of fading out from the film industry? Are middle-aged and older actresses less competitive than younger actresses? Is a girl’s dream merely to be beautiful? Is being beautiful the most significant value of women? Where does the beauty standard lie in Hollywood?
Elisabeth is a hardworking, elegant woman with a successful career. However, no one acknowledges the beauty of ageing, as society generally defines beauty in women as having flawless skin and a sexually attractive body. Even though Elisabeth has the talent to engage audiences in exercising and staying healthy, it is not valued because she is only expected to sell her body and help the TV show earn view rates by wearing sexy outfits. As Elisabeth creates Sue and witnesses Sue’s success in taking over her role, she loses herself in a devastating comparison. She constantly loafs about how young, beautiful, and precious she is, loved by the audiences and the attention used to belong to her. Elisabeth resents her sagging skin and yellow teeth. She traps herself in a melancholic cycle of comparison and frustration. Her jealousy mounts as the movie progresses. From the joyride of creating Sue, the better version of herself, to her questionable satisfaction with Sue’s success in taking her place in Hollywood, she sacrifices her beauty, physique, and even life to catch a glimpse of Sue’s success.
The rule of the drug is that each person takes turns living for seven days, remembering that both are one. If one disrupts the order, both will face unimaginable punishment. The results of the rules are ironic, as they reflect the paradox of beauty. Elisabeth goes after the drug, unaware that the creation of a younger self could be gut-wrenching. The sound and visual effects of the transformation scene are painful. Although it is fictional, the concept illustrates the brutality of the extent to which a woman might go to maintain her beauty, in order to be accepted by the public.
The dark and suspenseful cinematography intensifies the interaction between Elisabeth and Sue. Sue is fanatical about her skyrocketed Hollywood fame but also becomes greedier. She borrows Elisabeth’s time more and more and turns her into a wizened old witch with wrinkled and twisted fingers and toes. Although Elisabeth has to carry the pain of her grotesque physical change, she cannot forgo the drug.
The in-depthness of the movie not only depicts the struggles of aging women. Some of the scenes portray Sue’s discomfort with male gazes. Her milky skin, dreamy body, and signature alluring smile win over everyone’s heart. On the other hand, she feels distressed by the sexist conversations between her neighbour, the show’s director, and other men she encounters, such as a TV host she later meets. There are a few unsettling moments where the camera zooms in on her chest and legs. Sue even slaps her buttocks to draw more attention. Yet, she does not enjoy the feedback from the show’s director.
Elisabeth’s soul-sucking jealousy drags her down a terrible path. She ditches a date from her old classmate Fred (Edward Hamilton-Clark) in an iconic scene where she violently wipes away her glossy, bold, nude-rise lipstick in front of the mirror, revealing her bitterness towards Sue over her long-lost Hollywood fame. Sue’s beauty and fame fulfil Elisabeth’s desire to be loved, but at the same time, Sue serves as a punishment for Elisabeth’s greed. Sue’s crown doesn’t last long either because she violates the rules of the drug. The story eventually ends with a bloodbath as Sue creates a monster because she is possessed by fame and forgets she is merely a fame-tasting puppet made by Elisabeth.
Should both characters face the harrowing punishment? As beauty is the status quo for winning social acceptance, it is normal for Hollywood stars to fight over it at all costs. The Substance is a reminder to everyone in the industry and to audiences alike to challenge the status quo and to respect and celebrate actors and actresses from all generations, genders, sizes, and ethnicities. Films and arts are not solely about beauty; acting skills, storytelling, scriptwriting, cinematography, and visual and sound effects, these are some of the perspectives that contribute to a film's value.
The Substance, released in December 2024, has earned multiple film awards, including Best Actress, Screenplay, Cinematographer, Visual Effects, and Makeup. The new horrific sci-fi movie is thought-provoking and raises many questions about the Hollywood beauty standards that hinder women of different ages or appearances from achieving a breakthrough in their careers.
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