THE SUBSTANCE

The Substance: A Cinematic Metamorphosis That Loses Its Way

Coming off the back of Beetlejuice and Alien: Romulus, The Substance was not at all what I expected. It’s a film that grips you at first, holding your attention for three-quarters of its runtime with intriguing, albeit familiar, sci-fi vibes. But then, somewhere along the way, it goes completely off the rails. It’s one of those movies where I seriously considered getting up and leaving the theater.

The first half of the film is a sensory feast, reminiscent of other sci-fi classics. Coralie Fargeat’s direction is genuinely fascinating. There’s this ASMR-like quality to it—visually and aurally. The sound design is the star of the show here, elevating each moment to a heightened state of awareness. Every sound is meticulously placed, making you feel like you’re living the scenes rather than just watching them. It’s almost obsessive how Fargeat brings each element to the forefront, pushing every material to its max sensory potential.

And it’s all wrapped in this thematic packaging of narcissism, greed, and that never-ending pursuit of what we can’t have—youth, beauty, success. In essence, the film is a showcase of the seven deadly sins, and the price of selling your soul for that elusive fountain of youth. A horror movie that shifts and evolves, pulling in shades of The Fly, Alien, 2001: A Space Odyssey, and others before spiraling into something entirely different.

Here’s where it starts to fall apart. The film morphs into this splatterfest—a grotesque, almost laughable descent into B-movie territory. What began as a thoughtful exploration of humanity’s obsessions turns into a mess of grotesque visuals and animalistic horror, borderline supernatural. By the end, I was left with a giant WTF. It felt like a missed opportunity to close on something deeper or more meaningful. That said, the absurdity of the climax does underline the superficiality of our endless chase for success, and how quickly we’re forgotten in the pursuit.

Then there’s Demi Moore and Dennis Quaid. Both fantastic, yet oddly out of place. It’s like, “What are you two doing here?” They’re excellent in their roles, no question, but in this over-the-top splatter finale, their presence feels almost surreal. Demi Moore brings a level of gravitas to her character, as always, and Dennis Quaid’s usual energy adds an interesting counterpoint. But in the context of The Substance, they feel like they’ve wandered onto the wrong set—though they still manage to stand out amid the chaos.

Final Thoughts

The Substance is one of those films that’s going to divide audiences. For some, the sudden shift toward grotesque horror will feel like a betrayal of the intriguing setup, a wasted chance to offer something more substantial. For others, it’ll be a wild ride—proof that cinema still has the power to shock and push boundaries. Either way, Fargeat has crafted something sensory and thought-provoking, even if it ultimately stumbles.

At its core, The Substance is a reflection of our society’s obsession with chasing impossible fantasies, and how that chase always comes with a cost. In this case, that cost is both the film’s narrative coherence and our sanity as viewers.

MUBI enthusiasts might find The Substance particularly interesting for its experimental visuals and soundscape, though the tonal shifts may alienate some viewers expecting more consistency. For those curious, you can explore more cinematic gems like this on MUBI.

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