Director:
Coralie FargeatGuión:
Coralie FargeatCámara:
Benjamin KracunMúsica:
RaffertieReparto:
Demi Moore, Margaret Qualley, Dennis Quaid, Hugo Diego Garcia, Oscar Lesage, Joseph Balderrama, Vincent Colombe, Matthew Géczy, Brett Gillen, Matthew Luret (más)Sinopsis(1)
Have you ever dreamt of a better version of yourself You, only better in every way. You should try this new product, it’s called The Substance. It changed my life. With the Substance, you can generate another you: younger, more beautiful, more perfect. You just have to share time – one week for one, one week for the other. A perfect balance of seven days each… Easy right? If you respect the balance…what could possibly go wrong? (Cannes Film Festival)
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Reseñas (5)
No te dejes desanimar por la premisa superficial de la trama y la estilización de las películas de serie B. Reflejando las reglas del mundo del espectáculo, esto es superficial a propósito. Lo descolorido debe ser cambiado por los jóvenes con el cuerpo perfecto. Y las celebridades están dispuestas a hacer cualquier cosa con sus cuerpos por eso. Durante los primeros cien minutos más o menos, no podía creer la presencia de basura tan barata y estilizada en la sección competitiva de Cannes FF. Sin embargo, Coralie Fargeat tiene un plan más elevado para nosotros y lo convierte en giros inesperados, psicológicamente a través de un conflicto interno del personaje principal, y también en términos de género modelado en el trabajo de salpicaduras matutinas de Peter Jackson.Y lo hace en un espectáculo de horror corporal casi trascendental, en el que no teme utilizar con humor la música de Herrmann de Vértigo o la de Strauss de Una odisea del espacio. Perfectamente elegida Demi Moore en el papel de la estrella al final de su varrera, y Margaret Qualley en el papel de la estrella en ascenso de la serie de televisión. Si la película no hubiera funcionado de manera tan transparente y predecible con elementos de película B en los primeros cien minutos, ¡le habría dado cinco estrellas! ___ Me parece que las directoras están empezando a mostrar mucha más desnudez femenina en sus películas que las directoras. Ejemplos de Cannes de este año son Les Femmes au balcon y The Substance, donde veremos más de cerca los pechos de Demi Moore y Margaret Qualley. Por no hablar del torbellino de sus curvas en elásticos. ¡Ñam! [Cannes FF]
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La anterior obra de Coralie Fargeat no me impresionó mucho, una película de venganza hecha para el efecto con muchas tonterías mostró que la directora francesa puede destacar con un estilo frenético e imágenes creativas, pero le faltaba - cómo decirlo de otra manera - simplemente sustancia. ¡Y ahora Substance con "S" grande finalmente la tiene! Es admirable que, aunque se trata de una trama muy simple y directa, prácticamente digna de un episodio de Twilight Zone, su extensión a casi dos horas y media de alguna manera funcione y además tiene un increíble poder de atracción. Es una amalgama de muchas inspiraciones, ya sea de El retrato de Dorian Gray, películas como La muerte le sienta bien, El crepúsculo de los dioses y las obras de body horror de Frank Henenlotter (y según leo otras reacciones aquí, cada uno puede encontrar algo un poco diferente en eso) y todo se mantiene muy bien unido. El trío principal de actores Demi Moore, Margaret Qualley y Dennis Quaid muestra una verdadera proeza, cada uno con un estilo un poco diferente. Hay varias secuencias realmente muy nutritivas y ¡la última media hora es simplemente una sucesión de escenas del año! [KVIFF 2024]
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Demi Moore is back! And in a banger like this! When my friend asked me what it was about, I said: something like Death Becomes Her, but more modern, more revealing, more honest, more daring, more raw, more psychological, and most importantly... bloodier! I had an incredible time, but the film also made me think. I don't have to burden myself with ageing at the moment, but it's coming, and I'm surrounded by women who are at a similar stage of life to the main character (just not famous), and I can see that it's a heavy burden. The body isn't as fresh and firm as it used to be, men don't turn on you anymore, and the terrible way it can play with the psyche, and self-esteem, I think that's portrayed perfectly. What are we going to say, the world has always been, still is, and probably always will be putting a huge emphasis on looks. And then a sleazebag like the one played by Dennis Quaid defines you, your worth, and your life: a perfect contrast. For me, the movie experience of the year, which I will, despite the final over-the-topness and absurdity, gladly give a second viewing. [Festival de Cannes 2024]
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A cautionary tale about the fact that rules are meant to be followed; especially when it comes to a miracle drug that you are about to inject into your body. At first, I was a bit miffed that I didn't detect an effort on the director's part to build atmosphere and try to scare the viewer, instead, she unleashes "just" an entertaining straightforward satire. But once the inner psychological struggle between the heroine's lust and rational will starts to manifest itself physically (I vividly remembered my attempts to quit smoking), The Substance takes on a crazy edge. There are several times when you think that this film will probably end soon, because it has already reached a point where other horror films only get to the final scene... but then Coralie Fargeat always injects another shot of body horror gunk into the film's veins and takes the ride up another level. This woman's got balls. I'm a little surprised it got the screenplay award at Cannes, because it kind of does what it wants in the finale, the rules of the fictional world are only loosely outlined; I would have expected more success with midnight screenings than with critics, but obviously miracles do happen sometimes. The Substance probably won't be my favourite horror film of the season at the end of the year, I always give preference to serious horror and dread in that regard, but at the same time it has to be said that few films have INSTANT CLASSIC written all over them in such big letters.
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An artsy trash flick that combines elegant and spectacular modern filmmaking with intense B-movie body horror that forces viewers with a weak stomach to avert their gaze or even walk out of the screening room. With its music-video softcore aesthetics, it’s as if David Cronenberg had shot Re-Animator, but The Substance ultimately falls into the category of gory splatter movies like Peter Jackson’s Braindead. As a satire about the self-destructive desire for eternal youth and beauty, it is rather (probably intentionally) straightforward and superficial in terms of its concept, and when it comes to the plot, the film does not really deal with sense and does not hesitate to break its own rules. Everything is subordinated to the film’s constant pushing of the boundaries of expectations and it is boldly shocking on several occasions in the extremes to which it is willing to go. However, it is filmed with extraordinary pulsating energy and, thanks to its brisk pace, throbbing music, polished shot composition and both of the actresses in the lead roles (and the wonderfully creepy Dennis Quaid in a supporting role), it is pure over-the-top entertainment for the thick-skinned that is an absolute joy to watch. It should ideally be experienced together with a large group of other viewers.
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