The Substance
I was exhausted by the time I walked out of “The Substance,” the new film from director Coralie Fargeat, featuring a fully committed, career-best performance by the iconic Demi Moore.
The film opens with an actress receiving her star on the Hollywood Walk of Fame. As time passes, cracks begin to appear in the pavement. The star is rained on, walked over, and birds defile it. Later, we meet Elisabeth Sparkle, an aging celebrity and fitness instructor, who encounters a mysterious company called The Substance. The company promises to create a "new her." At first, she rejects the idea, but after being fired by her sexist, out-of-touch boss (an off-the-wall Dennis Quaid) and replaced by someone younger, she caves and calls the enigmatic company.
From there, we're introduced to Sue, played by Margaret Qualley, and the film plunges into a rabbit hole of horror. “The Substance” is a visceral experience; you feel it as it unfolds. At times, you'll laugh; at others, you'll rage or feel disgusted. But you'll never be bored. At its core, this is a film about the sexist double standards and impossible beauty standards imposed by an industry that treats women as disposable objects. The film isn’t subtle about this message, and that’s precisely what makes it so refreshing. It knows what it’s about, and just when you think it can’t go any further, it does.
While “The Substance” draws inspiration from films and filmmakers like David Cronenberg’s body horror, David Lynch’s surrealism, and Yorgos Lanthimos’ absurd comedy, it never feels derivative. It is a unique, grotesque, and at times laugh-inducing take on our world. It's a film that sometimes makes you want to look away, yet you can't. And honestly, the world is better for having “The Substance” in it.
Mother, Couch
In the new film "Mother, Couch," Ewan McGregor plays an anxiety-prone man who visits a furniture store on the brink of closure, where his mother, portrayed by Ellen Burstyn, refuses to leave a couch in the showroom. As his brother and sister arrive, the film unravels into a surrealist nightmare, interspersed with moments of humor and poignant humanity.
"Mother, Couch" evokes memories of some of my favorite films from the mid-2000s, particularly the bleak surrealist humor of Charlie Kaufman. However, it distinguishes itself with a more meditative approach, avoiding the relentless anxiety that characterizes films like "Synecdoche, New York" or "Anomalisa."
The camera navigates a world inhabited by characters whose exaggerated motivations make perfect sense within their own internal logic. We see this world through the eyes of McGregor’s character, David, who brings depth and authenticity to the role. For those who suffer from chronic anxiety, his perspective might feel all too familiar. In one scene with Bella, the quirky daughter of the furniture store owner, skillfully portrayed by Taylor Russell, it seems she might be falling in love with David. But in the next scene, he assumes she despises him. David wrestles with complicated emotions about his upbringing and a desire to forgive his mother, though she may not be seeking forgiveness. He also believes his estranged siblings harbor resentment towards him, yet there could be more lurking beneath the surface.
Director Niclas Larsson isn’t concerned with crafting a film that follows a linear structure or adheres to traditional logic. Instead, he focuses on the performances, the characters, and the emotional logic that, while often irrational in reality, drives the narrative. This film is less about guiding you through a conventional story and more about how it makes you feel, how it resonates with your own experiences. That’s why I loved this film.
If you connect with it, you’ll find it richly layered, brimming with the complexities of human neuroses that warrant multiple viewings. Each rewatch peels back more of the intricacies of relationships and our self-perception. But for some people, I could see this film feeling grating and a bit exhausting.
I would be remiss not to mention the film’s technical aspects, which feel like a throwback to the distinctive style of independent cinema that’s becoming rarer. The cinematography is unique, the sound design is immersive, and the set design is impeccable, achieving a lot with very little.
"Mother, Couch" is a film I hope more people will discover. It’s available now on VOD through Film Movement.*
