Realização:
Coralie FargeatArgumento:
Coralie FargeatCâmara:
Benjamin KracunMúsica:
RaffertieElenco:
Demi Moore, Margaret Qualley, Dennis Quaid, Hugo Diego Garcia, Oscar Lesage, Joseph Balderrama, Vincent Colombe, Matthew Géczy, Brett Gillen, Matthew Luret (mais)Sinopses(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)
(mais)Críticas (7)
Não se deixe desencorajar pela premissa superficial e pela estilização de filme B. Refletindo as regras do show business televisivo, é intencionalmente superficial. O velho deve ser substituído por jovem com corpo perfeito. E as estrelas estão dispostas a fazer qualquer coisa pelos seus corpos. Nos primeiros cem minutos, mal podia acreditar na presença de uma obra tão barata e estilizada na seção competitiva do Cannes FF. No entanto, Coralie Fargeat tem um plano maior conosco e transforma tudo em reviravoltas inesperadas - com o conflito psicológico interno do protagonista e, em termos de género, seguindo o exemplo da obra de splatter inicial de Peter Jackson. E isso até o ponto transcendental do espetáculo de horror, no qual não tem medo de usar de forma engraçada até a música de A Mulher Que Viveu Duas Vezes de Herrmann ou de 2001: Odisseia no Espaço de Strauss. Perfeitamente escolhida, Demi Moore no papel da decadente e Margaret Qualley no papel da estrela ascendente do show televisivo. Esta última, a propósito, também está em novo filme de Lanthimos neste Cannes, experimentando uma verdadeira ascensão de carreira. Obrigado, Tarantino, por descobri-la! Se o filme não brincasse de forma tão óbvia e previsível com elementos de filme B nos primeiros cem minutos, eu daria cinco estrelas! ___ Parece que as diretoras de cinema mostram muito mais nudez feminina do que os diretores nos filmes. Exemplos apenas desta edição do Cannes, como The Balconettes e The Substance, onde podemos observar detalhadamente os seios de Demi Moore e Margaret Qualley. Sem falar da avalanche das suas curvas em lycra. Delícia! [Cannes FF]
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Um lixo artístico, em que se misturam a elegante e eficaz cinematografia moderna com o intenso body-horror de filme B, que leva os espetadores com estômagos mais fracos a desviar o olhar ou até mesmo sair da sala durante a projeção. Muita estética soft-pornográfica de videoclipe, às vezes um pouco como se David Cronenberg realizasse O Soro Maléfico, mas no final o filme se junta ao grupo dos splatters sangrentos, como Braindead - Morte Cerebral de Peter Jackson. Em termos de pensamento, como uma sátira ao desejo autodestrutivo da eterna juventude e beleza, é bastante direto e superficial - provavelmente intencionalmente - e em termos de enredo, o filme não se importa muito com o sentido e não hesita em quebrar as suas próprias regras. Tudo é subordinado ao fato de que o filme constantemente empurra os limites das expetativas e choca várias vezes com a extensão a que está disposto a ir. Mas é filmado com uma energia pulsante sem precedentes, graças ao ritmo ágil, música pulsante, composições visuais refinadas e ambas as atrizes principais (e o lindamente repugnante Dennis Quaid em um papel secundário), é realmente um prazer de ver, uma diversão over-the-top para os corajosos. É ideal desfrutar disso como uma experiência coletiva com muitos outros espetadores.
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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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Someday when I'm explaining to someone what "nice but shitty" means, I'm going to put this movie on. Or at least half of it, so they don't have to watch it for those excruciating two and a half hours. Coralie Fargeat had already disappointed me a lot with her previous film Revenge, but the two films have a lot in common. They look beautiful, there's imaginative play with colour, and in this case there's even some pretty stylish references to Kubrick, Cronenberg or Carpenter, the slow motion shots of TV performances are more than effective and damn sexy, but underneath all the glitz there's a lot of nothing. The Substance is a film that would like to open up interesting themes like the inability to age, the cult of youth in show business, and it also tackles the price of fame and how much anyone is willing to pay for it. But it does all this in a completely banal way that surprises no one and takes an insufferably long time to do so. After about twenty minutes I had already made a list in my head that The Substance will follow until the very end. And just kept ticking it off. Realistically, underneath the audiovisual audacity is a shallow, idealess show full of stupid characters making even stupider decisions and pretending to be surprised by the consequences. It's tiresome to watch, and behind all the pretty pictures, the tastelessness (which isn't so hellish after all), the nudity and the shots of sexy asses in spandex, there's just a perfumed nothingness
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I was not too impressed with Coralie Fargeat's previous effort, a revenge movie with a lot of nonsense, although it showed that this French director can impress with her frenetic style and imaginative imagery, but it lacked - well, how else to put it – substance. But The Substance does have plenty of it! What's admirable is that although there's a very simple and straightforward plot practically worthy of an episode of The Twilight Zone, stretching it out to nearly two and a half hours somehow works, and has an incredible pull to boot. It's a compilation of many inspirations: “The Picture of Dorian Gray”, films like Death Becomes Her, Sunset Blvd. and the body horror works of Frank Henenlotter (and after reading other reviews here, everyone can find a little something different in it), and it all holds together very well. The main acting trio of Demi Moore, Margaret Qualley and Dennis Quaid all deliver incredible performances, each of them doing so in a slightly different style. There are some really great, impressive sequences and the final half hour is quite simply the scene of the year! [KVIFF 2024]
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(KVIFF 2024) Substance already has pride of place in the field of gory body horror. A quick glance at the blurb immediately brings to mind the classic Death Becomes Her (the episode The Outside from Guillermo del Toro's anthology Cabinet of Curiosities specifically jumped out at me). The casting of Demi Moore as an aging, (semi-)forgotten star was a stroke of genius, and I'm glad that this actress, popular in the 90s but rather maligned by the tabloids in recent years due to suspicious changes in her appearance, got a chance to play - sort of - herself(?). At least since Gremlins, we know that rules are not just for show, and breaking them can have (literally) monstrous consequences. As I watched, references to films like The Shining, The Elephant Man, Carrie, The Thing, Tale of Tales, and The Fly flashed before my eyes, but that's not to say that Substance is a compilation of what I've seen before. During the screening, I saw how some people averted their eyes – I was only bothered by one single (nail) scene in this regard. But it's definitely a tough piece of work, with incredibly intense and energetic audio-visuals, where I appreciated my slight deafness in places. Coralie Fargeat manages to serve up a dense, bloody spectacle that could have high-fived Kill Bill. But ultimately, it's also a sad tale of a chauvinistic ideal of beauty, the attainment of which can bring with fatal consequences. It's not a clean five stars for me, but Substance deserves them nonetheless, for having the guts and balls to make something like this.
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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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