THE SUBSTANCE*****

French writer-director Coralie Fargeat's THE SUBSTANCE is a body horror film that also works as social satire.  It is visually and aurally stunning and features a career-defining and award-worthy performance from Demi Moore that veers between MOMMIE DEAREST and heartbreak. It works all the better for Gen X viewers like myself because we have watched Demi's body-choices litigated over decades. Her buzz cut and ripped muscles for GI Jane.  Her Vanity Fair cover proudly showing her nude with a baby bump.  Her recent extreme plastic surgery. And there's an irony that she looks so good at 60 that she can play 50, but even good at 50 isn't good enough for Hollywood, or real life.

Moore's Elisabeth Sparkle is a preternaturally well-preserved middle-aged actress who now hosts a Jane Fonda-style aerobics show.  She is summarily sacked by her shark-like boss on her fiftieth birthday and turns to a black-market drug to remain attractive. The problem is that the brat-green injection doesn't restore your own body to youth but creates a younger, perkier avatar.  The avatar - "Sue", played by Margot Qualley - gets all the fame and adoration.  You, Elisabeth, become like the portrait of Dorian Grey, something abandoned, lonely, old, old, old.  And that's before you misuse the drug, stay longer as Sue, and reap the cost as Elisabeth.

There's a lot of stylish fun to be had in this film. It reminded me of Cronenberg and Vachon with its disciplined graphic design and willingness to push body horror to absurdity. Whoever did the sound design deserves an award. We hear and feel the grotesquery of every crunch of a prawn and every needle puncture. Dennis Quaid is game as the disgusting venal TV producer.  Moore and Qualley are courageous with their nudity and objectification. I laughed out loud a lot all the way through the film as well as having to look away and particularly gruesome scenes.

But there's so much more going on here.  Demi Moore is heartbreaking as Sparkle - a woman who by all standards is stunningly beautiful and youthful but is tormented by the giant billboard of Sue facing her apartment. There's a pivotal scene around half way through the film when Elisabeth tries to go out on a date and looks stunning to our eyes, but she is crippled by her internalised misogyny and ageism. It's tragic and credible and stunningly performed. She deserves an Oscar nomination for this career-best performance.

THE SUBSTANCE is rated R and has a running time of 140 minutes. It won Best Screenplay at Cannes 2024. It will be released in the USA and UK on September 20th.

PROMISING YOUNG WOMAN

PROMISING YOUNG WOMAN is the stunning debut feature from actor-writer-director Emerald Fennell. It's the darkest of dark comedy thrillers that impresses with how it manages to handle the nastiest of subject matter, to genuinely thrill, move and entertain. To direct something that manages such swift changes in tone and mood, but never felt jarring or out of control, is a skill and feat that has beaten many more seasoned directors. I simply cannot wait to see what Fennell does next, whether reprising her role as Camilla Parker-Bowles in the THE CROWN or creating her next movie.

The film casts Carey Mulligan against type (see review for the awful THE DIG) as a very smart but deeply damaged thirty year old woman who seeks revenge on the cohort of "nice guys" who think nothing of taking drunk girls home from bars and raping them. To do so, Cassie goes to bars, pretends to be drunk, waits for the inevitable to happen and then shocks her victims with her stone cold sober retribution.  Just what the nature of that retribution is, and the reason for Cassie's rage, are withheld for the first half of the film, creating a brilliantly intriguing and disturbing tension.  This is especially acute when Cassie's revenge moves beyond men to the women who have internalised misogyny and slut-shaming and enable the crimes to go hidden and covered up and the institutions (universities, psychiatry) that further victimise women. I genuinely gasped when Cassie involved the daughter of one of her targets in her deceptions and the idea that our hero-protagonist might actually be more evil than her targets was a nasty but brilliant tease.

What really impresses is how credible all of this is - from Cassie's trauma to the arse-covering excuses given to her by all involved (not least a great performance from Alison Brie as the most smug of middle class mothers who has a come to jesus moment). I really felt for these characters - not just Cassie, but even people like Alfred Molina's guilt-ridden psychiatrist. It's really testament to Emerald Fennell's direction that the film moves you even as it uses garish almost cartoonish visuals and music. I loved the chintzy overbearing interiors of Cassie's childhood home and the pop-coloured coffee shop run by her wonderfully sympathetic boss (Laverne Cox). I also loved the visual imagery that often sees Cassie depicted with angelic wings even as she does pretty nasty things. And the fact that the script is willing to go to an ending that is fittingly dark.  

Honestly, I cannot think of a single thing I didn't like about this film. Like it's heroine, it's smart and dark and thrilling, and it speaks to issues that need urgent attention. Kudos to all involved. 

YOUNG WOMAN has a rating of R and a running time of 113 minutes. The film played Sundance 2020 and was released on streaming services in January 2021.

BEAST - Day 6 - BFI London Film Festival 2017

Micheal Pearce's BEAST is an assured directorial debut that's half claustrophobic family drama in the manner of Lars von Trier, and half serial killer whodunnit. It stars Jessie Buckley (WAR AND PEACE) as Moll - a bullied daughter of an oppressively middle-class family living on the insular island of Jersey.  Given how overlooked and snubbed she is, it's no surprise that Moll is drawn to the charismatic outsider Pascal (singer-actor Johnny Flynn).  She has little concept of self-care, putting herself in harm's way and lying to the police because she wants the attention.  Her family hate Pascal because he's of a lower social class but they are more justifiably concerned that there's a serial killer on the island.  The question is how far Moll suspects and suppresses her suspicions about Pascal and what she'll do with them given that she's alienated most people on the island. 

Where the film works best is in chronicling the passive-aggressive coercion of a manipulative family.  Geraldine McEwan is truly frightening as Moll's mother, and Jessie Buckley demonstrates formidable range as she moves from bullied, self-harming daughter, to passionate lover, to agent of justice. The serial killer piece is good but perhaps less assured in its pacing and reveals. Nonetheless, this is a highly impressive first feature from Pearce and I look forward to seeing how he develops as a film-maker. 

BEAST has a running time of 107 minutes and will play London and Toronto 2017.