“The Substance”: Insanity Incarnate With a Hollywood Takedown

Touting horrifying special effects, hilarious commentary and a truly unique vision, the film is one of the year’s best. 

The poster of "The Substance," touting its acclaim with many quotes from critics. Photo by Andrew Breen '25

If you are disturbed by: the process of aging, Hollywood producers, ‘80s dance classes, excessive — and I mean excessive — gore and Dennis Quaid violently gorging on a pound of shrimp, then be afraid, very afraid of “The Substance.” 

Every year, a movie rolls around that gets labeled the “most crazy film of the year.” In years past, we’ve had the release of movies such as 2022’s “Barbarian” or “Nope,” which both kept their plot under wraps to build up an air of mystery around their “fantasticalness.”

Those two previous examples are undoubtedly wild rides, but “The Substance” takes the cake. It moves past the moniker of “crazy film of the year” and into the territory of the completely off-its-rocker, bananas, bonkers film of the decade that makes you ask, “What the actual hell are my eyes witnessing?” 

“The Substance,” the sophomore feature by Coralie Fargeat, isn’t just a wacky film lacking, well, substance; it is a satirical, maximalist examination of the unforgiveness of the Hollywood system, specifically its constant exploitative, scuzzy view of young actresses while releasing older, deemed “unappealing,” actresses who broke their backs for producer’s demands. Fargeat isn’t subtle in “The Substance,” as this film is in your face, often literally, and has something to say.

The film, which premiered in May at the Cannes Film Festival, received rave reviews from critics and won a major award, Best Screenplay. The most intriguing element before its release was its cast, starring actors Demi Moore and Quaid, who haven’t really touched the horror genre, alongside Margaret Qualley. Moore and Quaid, however, excel in their performances, earning their early award buzz — unfortunately, this will probably lead to nowhere due to the constraints of the horror genre and award circles.

Moore plays Elisabeth Sparkle, a famous actress reduced to working on an 80’s-inspired jazzercise show run by its quick-talking, sleazy producer Harvey, played by Quaid. Obviously, there is no inspiration from another disgusting producer named Harvey. 

Sparkle is dropped from her show by Harvey — which is only once a week and features only scantily clad women dancing — because of her “lackluster appeal” due to her turning 50. The ridiculousness of “The Substance” gives it an off-kilter tone that makes it laugh-out-funny, but also breaks up the true heartbreak of Moore’s performance, as she is a woman who is so addicted to her public perception, as well as maintaining her good looks. 

Sparkle resorts to a secret program known as The Substance, allowing her to receive a younger woman, played by Qualley, who she can switch bodies with. However, with such a convenient program must come rules, and if she breaks them, there are dire consequences. 

Beyond that, I don’t feel comfortable sharing any more of the plot of “The Substance” as its unraveling into pure, unadulterated lunacy is a sight to behold, not to be spelled out. This is undoubtedly one of the most phenomenally crafted films of this year. From its editing and direction to its cinematography and screenplay, it is wonderful to watch a film that is so bold and confident in its vision. One element that demands to be singled out is the special effects work, which channels back to the body horror make-up masterworks of “The Thing” and “The Fly.”

I would recommend “The Substance,” but with a large asterisk. If you love repulsive, abrasive dark comedies featuring ultra-violence with a purpose, then this is really for you (and you have a specific, distinguished taste). This isn’t a movie to take your grandma to though, as it knocks you in the jaw and makes you watch Moore stuff a rotisserie chicken while watching jazzercise classes. “The Substance” is a film that legitimately shouldn’t exist — it won’t make its budget back, and a decent percentage of its audience may walk out of it, but it knows that, and this makes it even more of a brash, daring and wild film than it already is.