The Substance: 10 curiosities about the feminist body horror film

The Substance, The body horror which shocked Cannes 2024, arrives in Italian cinemas. Award winner best screenplaythe English-language debut of the Parisian filmmaker Coralie Fargeat gives us one Demi Moore in a state of grace. The film follows a declining Hollywood star, Elisabeth Sparkle, who is determined to undergo treatment using an illegal serum that promises to create a better, rejuvenated version of herself. The resulting baroque body horror is a biting satire on the myth of beauty and the aesthetic standards imposed by the entertainment industry. With Dennis Quaid as Harvey, a ruthless producer (a Weinstein reference?), and Margaret Qualley in Sue’s already iconic pink aerobics leotard: the “most perfect” version of the protagonist.

The Substance was filmed entirely in France, with studio filming in Paris and exterior Los Angeles scenes filmed on the French Riviera. The film’s soundtrack was conceived by British composer Raffertie. The film stands out for one feminist perspective unprecedented in the horror scene, which focuses onbody image of one mature woman. An aspect less explored than the themes of the menstrual cycle and maternity present in works such as Carrie or Rosemary’s Baby. From Demi’s transformative challenges to Margaret’s prosthetic “mutation”. Here, 10 crazy curiosities about the most shocking film of the year.

Margaret Qualley’s prosthetic transformation

The 30-year-old actress wore breast implants to portray an idealized image of beauty, reminiscent of Jessica Rabbit.

The practical effects

Fargeat relied on practical effects for 80% of the film, believing they were critical to conveying the themes of violence.

The monster suit

The design process for the Elisasue Monster, the grotesque hybrid creature featured in the film’s climax, took effects artist Pierre-Olivier Persin and his team almost a month. The monster’s head is inspired by that of The Elephant ManDavid Lynch’s Victorian drama about a man with deformities. Margaret Qualley would undergo about 7 hours of makeup to wear the disgusting monster suit.

Demi Moore’s experience with on-screen nudity

In the film by Coralie Fargeat, the star of Ghost and of Striptease appears in a frontal nude scene. The actress, now 61, shared her concerns about filming full nudity, describing the experience as deeply vulnerable and intense.

Demi Moore’s influence on casting

Alberto Terenghi / ipa-agency.net

Demi wasn’t the first choice for the role of Elisabeth Sparkle. However, during a meeting in Paris, the actress gave Coralie Fargeat a copy of her 2019 memoir, Inside Out. This gesture left a profound mark on the French director, finally convincing her to choose her. In his biographical book, Moore reflects on his complex relationship with his body, from the beginning of his career to his peak success, a theme that resonated strongly with the film project. In the book, the diva also reveals dramatic details from her past such as the sexual violence she suffered at the age of 15.

Dennis Quaid replaced Ray Liotta

Originally, the star of Those good guys he was supposed to play the role of Harvey, but upon his death, which occurred shortly before filming began, he was replaced by Dennis Quaid.

Dennis Quaid’s dedication

To prepare for the role of the loathsome TV producer, the actor ate about two kilos of shrimp during filming.

The challenges of transformation

During the filming of a particularly intense scene, in which Demi Moore’s character frantically reapplies her makeup several times and then scrubs her face, the actress’s skin became excessively irritated. After about eleven takes, the makeup department intervened, urging the director to stop to prevent Demi from developing a severe facial rash.

Distinctive visual style

The film’s visual style is characterized by a wide-angle lens and an exploitation aesthetic. Influences include among others Clockwork OrangeStanley Kubrick’s ultraviolent classic.

Cronenbergian influences

The Substance is influenced by the body horror cinema of the master David Cronenberg, in particular by The Moscowremake of Dr. K’s experimentboth based on the story The Fly published in 1957 by George Langelaan.