When Coralie Fargeat’s horror-comedy The Substance premiered in Cannes this year it nearly brought the house down, which is not easily done in the concrete bunker that is the misleadingly titled Palais des Festivals.
What’s also unusual about Fargeat’s film is that it’s still being talked about at the year’s end, being a rare crossover between arthouse and grindhouse that has chalked up five Golden Globes nominations for its two female stars and its writer-director.
It’s also only her second film; Fargeat made a big impact in genre circles with her stylish debut feature Revenge (2017), a feminist twist on the Final Girl horror movie trope that ended — for once — with a naked, blood-soaked predator cowering at the mercy of a woman with the upper hand.
The Substance, meanwhile, goes several steps further, unleashing such a ridiculous amount of claret that Fargeat apologized to her cast and crew in the end credits.“Excess” is just one of the words that the director uses to describe her film’s anarchic aesthetic, in which fading movie star Elizabeth Sparkle (Demi Moore) makes a Faustian pact with an underground pharmaceutical company that promises her eternal youth but delivers instead a destructive alter ego named Sue (Margaret Qualley).
Read more on deadline.com