The gut-wrenching examination of societal pressures on women in the film “The Substance” is a blunt middle finger to male-influenced society and the domineering patriarchal hierarchy in entertainment. 

Written and directed by French filmmaker Coralie Fargeat, “The Substance” received best screenplay at the world-renowned Cannes Film Festival in 2024. 

This film follows a once-famous aerobatics entertainer named Elisabeth Sparkle, played brilliantly by Demi Moore. Her life is changed on her 50th birthday when her vile misogynistic boss, Harvey, played by Dennis Quaid, fires her over her age.

Elisabeth turns to a black market drug known as The Substance, which promises a newer, younger and better self which later is gruesomely born from Elisabeth’s own body. 

But strict rules must be followed to maintain the balance between Elisabeth and the younger version referred to as “the other.” She must switch between the two bodies every seven days and the drug requires a stabilizing shot once a day or else she’ll die. 

While Elisabeth is in her younger body she goes by the name Sue, enjoying the attention and admiration from a society that has neglected Elisabeth through age. 

Over the course of the film Elisabeth and Sue grow skeptical of each other and slowly seek ways to gain more control. The dealer of The Substance — who is reached by phone call — constantly reminds the two that they are one.

This is a representation of our tendency to personify our insecurities and our perceived dreams of who we wish we were. 

As Elisabeth gets dressed up for a date, she is confronted with images of Sue. She covers herself in makeup and attempts to change her appearance to look more youthful but ultimately creates an artificial prison that prevents her from leaving the penthouse. 

The cinematographer, Benjamin Kracun, expertly handles the genre-twisting and consistent intensifying narrative. 

While Elisabeth is in control the muted colors and the dark coolness of the framing highlight her loneliness and how she has trapped herself in this self-made cage. 

On the contrary when Sue is in control the screen brightens, the camera obsessing over Sue’s body as she plays out her younger years. 

With the second act continuously turning up the intensity, the third act escalates into a gore-heavy, blood-soaked statement to society.

Fargeat doesn’t leave much to subtlety, instead she uses the camera to highlight the fetishization of women’s bodies and the callousness of the men in power. 

The director’s anger is stated brilliantly in the end by extensive blood showering the red walls of the prison that society created. 

The Substance is currently showing at Cinemark as of Sept. 23.

Chris Hutton can be reached at [email protected].