By John Corrado

The 2024 Toronto International Film Festival runs from September 5th to 15th, more information on tickets and showtimes can be found right here.

In her showbiz sendup The Substance, writer-director Coralie Fargeat (Revenge) crafts her own bloody take on The Picture of Dorian Gray, mixing extreme body horror and absurd satire of Hollywood beauty standards with wildly entertaining results. Built around a pair of memorable performances from Demi Moore and Margaret Qualley, Fargeat’s near-operatic descent into madness becomes something demented and absolutely crazy by its end.

Moore stars in the film as Elisabeth Sparkle, a washed up movie star who now hosts a campy 1980s-throwback exercise show. When the show’s producer (Dennis Quaid, chewing up the scenery as a supremely gross Hollywood executive à la Harvey Weinstein) wants someone younger and more vivacious, she is unceremoniously let go.

The film opens with an overhead shot of Sparkle’s Hollywood Walk of Fame star on the sidewalk, as people walk over and spill food on it. The star is cracked and the visual metaphor is clear; she is literally becoming washed up. But things change when she is given a USB stick providing information about “the substance,” a mysterious procedure that can make her young again, and allows Elisabeth to relive her youth. Enter Sue (Qualley), the perky young starlet who starts to take her place.

Fargeat’s goal is to make us squirm in our seats as much as possible through some good old-fashioned Cronenbergian body horror, and she succeeds; there are many not-for-the-squeamish images involving flesh, and lots (lots and lots) of blood. The shockingly good makeup effects continue to dazzle as the film goes on, and deserve serious awards consideration, pushing the film’s cheeky commentary on aging and how Hollywood treats older actresses to the extreme.

Moore relishes in the chance to play this role, getting her Mommie Dearest moments as she leans in to her portrayal of a vain actress who will stop at nothing to maintain her looks. There is a sinister quality beneath Qually’s wholly complimentary performance that makes her equally compelling. The moments of seemingly intentional camp only add to the experience. Benjamin Kračun’s colourful cinematography gives a glossy feel to the film, while the throbbing techno music score by Raffertie only heightens the insanity we are seeing onscreen. I suspect this thing will explode when it plays at Midnight Madness.

Film Rating: ★★★½ (out of 4)

Public Screenings: Thursday, September 5th, 11:59 PM at Royal Alexandra Theatre; Friday, September 6th, 7:30 PM at Scotiabank Theatre; Friday, September 13th, 5:45 PM at Scotiabank Theatre