Meewella | Critic

According to P

Tag: Demi Moore

QuickView: The Substance (2024)

The Substance poster

“This is simply a better version of yourself.”

The Substance

Writer/director Coralie Fargeat delivers a bold vision with her second feature, an allegory of societal views on aging and the fetishisation of youth, explored through the medium of uncompromising body horror. Demi Moore’s performance as an aging star discarded by Hollywood has been widely regarded as a career best, and she fully sells Elisabeth’s extreme decision to use a secretive serum that creates a new youthful body but requires her to alternate between the two. There is significant nudity from both Moore and Margaret Qualley (as the younger self) and it is the sequences of them scrutinising their own and each other’s appearances that communicate the most — there is a tenderness tinged with jealousy toward Elisabeth’s younger self and a carelessness toward her older self. These intimate sequences at home are contrasted by more sexualised and objectifying camerawork in her professional life. The Substance certainly has more to say than Old, and Fargeat’s extreme visuals capitalise on ideas that The Neon Demon failed to execute. The film makes excellent use of architecture to unsettle the audience, with diabolically long corridors or a piercingly white sterile bathroom. Much of the film unfolds within Elisabeth’s isolated Hollywood mansion in the hills yet she is haunted by the impossibly high billboard staring through her living window, representing the inescapable images of youth thrust daily in our faces. The Substance does not preach any message beyond “the balance must be respected” and it is certainly not anti-youth, recognising that the young find themselves trapped in work so that the old can relax. The film cannot be accused of subtlety — Dennis Quaid’s lascivious Hollywood producer is presented as an avatar of grotesque consumption — but viewers will either love or hate the crass excess of its closing 20 minutes. I would have found The Substance more effective without this, but there is no doubt that Fargeat has delivered a vivid and memorable experience.

8/10

QuickView: Very Good Girls (2013)

“Yes, you can. The question is: will you?”

Geri

Writer/director Naomi Foner’s debut film focuses on two best friends who fall for the same guy in the summer before they separate for university. I was drawn to Very Good Girls on the talent of its leads — Dakota Fanning is superb as the awkward Lilly but a 25-year-old Elisabeth Olsen is miscast as Geri, never remotely believable as a high school graduate struggling to lose her virginity. This is not a coming of age story, and little room is given to character development (the arcs are, if anything, complete circles); its overarching theme is the effect of guilt on relationships. The first half of the movie feels more languid slice of life than story driven, with subtle direction and naturalistic performances successfully drawing the audience into Lilly’s world. This is then undermined by characters making strange decisions seemingly to advance an unconvincing narrative rather than from personal motivations, leaving a muddled impression and little sense of what the film is trying to say.

5/10

"A film is a petrified fountain of thought."

(CC) BY-NC 2003-2023 Priyan Meewella

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