As a cinephile with a keen eye for detail and a heart full of empathy, I must say that Coralie Fargeat’s latest masterpiece, “The Substance,” is a riveting exploration of the human condition, particularly women’s struggles against societal norms. The film’s director has openly acknowledged David Lynch as an inspiration, and his influence is evident in the dreamlike, surreal style that permeates this work.
In a flurry of anticipation among movie enthusiasts and horror aficionados alike since its debut, French filmmaker Coralie Fargeat’s second production, titled “The Substance,” tells the story of Elisabeth Sparkle, a seasoned Hollywood actress (portrayed by Demi Moore). Facing termination from her long-standing gig on a morning workout program, Elisabeth is intrigued by a suspicious substance said to enhance one’s appearance. With minimal reservation, she decides to use it, hoping to reignite her career. However, the catch is that she can only maintain her improved persona for seven days at a time, and then she must revert back to being herself for another seven days. She christens her new identity Sue (Margaret Qualley), and soon grapples with the detrimental consequences of yearning for unattainable beauty ideals.
In my view, this movie truly shines as a masterpiece in the horror genre, particularly body horror, but it’s also more than that – it’s a thought-provoking exploration of societal standards of beauty and our unhealthy fixation with appearances. We tend to equate ‘better’ with being younger or more attractive, and this harmful mindset is precisely what the director challenges us to reconsider. The film may seem extreme in its portrayal, but it mirrors the extremes some people are willing to go to in pursuit of eternal youth and beauty. It’s a stark reminder of just how alarming these ideals can be.
Fargeat clearly had many filmmaking influences on her mind while writing and directing the film, and many of those influences manifested in references or Easter eggs littered throughout the film. Although the film is purposefully not being subtle with its commentary, there is a lot going on and subtle movie references are easy to miss. With that being said, here are seven movie references you may have missed while watching The Substance.
7 The Carpet and Red Hallway Mimic The Shining
One of the directors, Fargeat, has mentioned that Stanley Kubrick, director of “The Shining,” has significantly influenced her career. This impact is more pronounced in the current film compared to her previous work, “Revenge.” The corridor connecting the morning show set to Elisabeth/Sue’s dressing room bears a red shade suggestive of blood, and its carpet pattern and coloring are strikingly similar to that in the Overlook Hotel’s hallway from Kubrick’s movie.
Hallways to Madness
Among the standout aspects of the set design in “The Shining” is the notorious carpet that young Danny rides on, which eventually reveals the two twins at the end of the lengthy corridor. The carpet’s vibrant hues and intricate pattern contribute significantly to establishing an unsettling and chaotic ambiance. In “The Substance,” the shapes displayed on the carpet are modified slightly, featuring rectangles divided in the center that symbolize the forthcoming split of Elisabeth. Nevertheless, the busy pattern and vivid colors continue to instill a similar feeling of discomfort and chaos.
6 The Unhinged Finale Is Similar to the Finale of Society
Many conversations about “The Substance” often revolve around its disturbing and unpleasant moments, particularly during its climax. These observations are spot on, as the movie’s last 20 minutes offer an outrageously enjoyable gore fest, featuring some of the most gruesome body horror scenes you might encounter in a film recently. It bears strong resemblance to the final act of the ’80s cult classic body horror film, “Society“.
Gross-Out Cinema With Meaning
In 1989, I found myself drawn to Brian Yuzna’s B-horror masterpiece, where I, as the protagonist Billy (Billy Warlock), grappled with feelings of being an outsider among my own family and their upper-class associates. One fateful night, I stumbled upon a party at our home, only to witness a chilling transformation of my loved ones into monstrous forms, shattering the illusion of normality and plunging me into a nightmare world.
Billy uncovers the shocking truth that his loved ones are a unique species who engage in a peculiar practice known as “shunting”. This involves shedding their clothes and transforming into one another, resulting in a revolting, slippery conglomeration.
The closing scene of the film offers insightful criticism of the actions of the affluent class, much like how the ending of “The Substance” reflects upon the unrealistic expectations placed on physical appearance in our society.
5 The Close-up of Lips Is an Homage to Videodrome
Another influential director for Fargeat, particularly in terms of directing style, is the renowned horror mastermind David Cronenberg. His most iconic work, “Videodrome”, can be seen reflected in the visuals of “The Substance”. One notable scene from Cronenberg’s film features a close-up of Nikki’s (Debbie Harry) lips on a TV set that appears alive and breathing. This image entices Max (James Woods) to kiss the screen, mirroring the film’s exploration of media seduction and technological progress.
Identities Tied to TV
Following Elisabeth’s consumption of the activator serum and the birth of Sue, Sue chooses to return to Elisabeth’s former workshop for an audition as her successor. The scene focuses tightly on Sue’s lips as she identifies herself, saying “I’m Sue,” a phrase that echoes across various old-fashioned TV screens before the camera pulls back to show Sue standing before the displays.
4 The Birth of Sue is Reminiscent of a Backburster
The Alien series consistently blends horror, science fiction, and action. Each film incorporates elements of body horror, with the Chestburster scene in Ridley Scott’s initial Alien movie being particularly notable. In the 2017 prequel, Alien: Covenant, the Chestburster is transformed into the Backburster – as the name suggests, it emerges from a character’s back. As his skin tears apart and his spine contorts in grotesque ways, it’s quite disturbing, but somewhat reminiscent of a scene in The Substance.
Body Horror Extremes
When Elizabeth uses the activator to enhance herself initially considers it a hoax. However, soon she experiences intense agony and collapses onto the floor. From that moment, her spine appears to wriggle beneath her skin, and her skin starts tearing apart. Eventually, Sue emerges from Elizabeth’s back, having forced herself out of Elizabeth’s body in an incredibly dramatic fashion, leaving a gaping wound on Elizabeth’s back that bleeds profusely.
3 The Fly in the Restaurant References Another Cronenberg Classic
In my movie-loving perspective, Fargeat once more acknowledges Cronenberg’s influence, this time through a more explicit tribute. In the opening scene of “The Substance“, my character, Elisabeth, is invited out for lunch by my boss, Harvey (played by Dennis Quaid). He uses this opportunity to inform me that I’m being let go because he thinks I’m too old to front an exercise show. Throughout our conversation, he’s rather messy when eating shrimp, leaving the table in a state of disarray. As he rises to leave, I notice a fly alight on his abandoned wine glass that was previously resting on his neck.
Similar Themes of Science and Transformation
The allusion to “The Fly” is applicable to both movies’ central ideas of selfhood and metamorphosis. In Cronenberg’s film, a man progressively bonds with the teleportation machine he invented, mirroring the theme. Conversely, in Fargeat’s movie, a woman undergoes a grotesque transformation as a result of her pursuit of youth and beauty. Both films function as cautionary tales about the perils of unproven scientific progression and the potential effects that physical change can have on an individual.
2 The Shadow Covering Elisabeth’s Face While She’s on the Phone Is Lynchian
A different director who Fargeat has acknowledged as an inspiration is David Lynch. Known for his experimental, dreamlike, and surreal approach to filmmaking, Lynch’s impact can be seen in this movie. Fargeat employs a similar absurd and dreamlike style in her second full-length film, while also paying tribute to him by replicating a close-up shot found in Lynch’s 1997 film “Lost Highway.
Mysterious Phone Calls
In the movie “Lost Highway,” Patricia Arquette portrays two characters, and one of them has a scene involving a cryptic phone call. As the camera zooms in on her face, only her mouth is visible; however, a dark shadow obscures her face from the mouth up. Fargeat replicates this scenario with Elisabeth, as she makes a call to the inventors of The Substance, and once again, a shadow conceals her face from the mouth region upward.
1 Harvey Makes a Direct Reference to the 1933 King Kong When Talking About Elisabeth
At the start of the movie, we learn that Harvey, a studio executive, is driven by ambition, ratings, and attractiveness. Later in the story, as Elizabeth finishes recording her program, she listens secretly to Harvey discussing over the phone how Elizabeth is past her prime and expresses his eagerness to dismiss and replace her. He callously refers to her as an “elderly woman,” and shares his astonishment that her 80’s workout series is still airing.
Harvey playfully enquires from his coworker about the timing of her major success over the phone, saying, “So when did that happen? Was it during the King Kong era?” He delivers this question with a mischievous grin and continues the teasing comment by referring to it as the original King Kong from the 1930s.
Ageism Strikes Again
In the movie “The Substance“, ageism serves as a significant motif. From the outset, Harvey effectively conveys Fargeat’s message, demonstrating that Elisabeth is discarded like trash on her 50th birthday because she no longer embodies youth and beauty as she once did. This seemingly humorous allusion carries a deeper meaning, highlighting the malicious intent behind it: it underscores Fargeat’s argument that women are judged more harshly than men regarding age, and are compelled to grapple with aging in ways that men often do not.
The Substance
is now playing in theaters.
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2024-10-05 21:02