The Substance

The Substance

Company type	Film
Industry	Motion picture
Founded	2024 (2024)
Founder	Coralie Fargeat
Headquarters	France, United Kingdom, United States
Products	Body horror motion picture
Parent	Working Title, A Good Story, Universal Studios, Blacksmith

The Substance is a 2024 body horror motion picture both penned and helmed by Coralie Fargeat. The narrative centers on Elisabeth Sparkle (Demi Moore), a declining celebrity who, after being dismissed by her producer (Dennis Quaid) because of her age, resorts to a black market pharmaceutical that generates a younger incarnation of herself (Margaret Qualley) with unforeseen consequences. The film has been recognized for its sharp satire and striking hyperrealistic visuals.

This project marks Fargeat's sophomore feature film, following her 2017 debut Revenge. The screenplay, developed over two years, explores societal expectations regarding women's aging and physical appearance. The production assembled talent from France, the United Kingdom, and the United States. Filming took place in France over 108 days, prominently featuring extensive use of prosthetic makeup and practical effects such as suits, puppetry, dummies, insert shots, and approximately 21,000 liters of artificial blood to illustrate Elisabeth's metamorphosis. The soundtrack was composed by Raffertie and includes a rendition of "Pump It Up!" performed by DJ Endor.

The film debuted on May 19, 2024, at the 77th Cannes Film Festival, where Fargeat received the Cannes Film Festival Award for Best Screenplay. Initially slated for release through Universal Pictures, distribution was handled by Mubi in the UK and US starting September 20, 2024, with a French release by Metropolitan Filmexport on November 6, 2024. Produced on an $18 million budget, it earned between $77 million and $82 million globally, becoming Mubi’s top-grossing title. Critical reception was largely favorable, and the film secured the Oscar for Best Makeup and Hairstyling at the 97th Academy Awards, among other accolades. Moore received a Golden Globe, a Critics' Choice Award, and a SAG Award, in addition to an Academy Award for Best Actress nomination.

Plot

On her fiftieth birthday, Elisabeth Sparkle—a once-prominent Hollywood star—loses her role as host of a long-running aerobics television show when producer Harvey fires her due to her advancing age. After an automobile accident, a nurse discreetly hands her a flash drive promoting "The Substance," an illicit drug promising rejuvenation into a flawless younger self.

Elisabeth procures and administers the single-dose serum, which causes a youthful woman named Sue to emerge from her back. Their consciousnesses are required to alternate every seven days without exception; the inactive body remains unconscious and receives nutrition intravenously. To prevent Sue’s decline, daily injections of stabilizer fluid—harvested from Elisabeth’s original body—are necessary.

Sue rapidly gains fame as Elisabeth’s successor and is offered to host the New Year’s Eve broadcast. While Sue indulges in a confident and pleasure-seeking lifestyle, Elisabeth retreats into self-loathing isolation. Sue’s postponement in switching cycles by extracting additional stabilizer accelerates Elisabeth’s aging process. Their supplier cautions that such delays result in permanent deterioration of the original body.

The two begin perceiving themselves as distinct entities: Elisabeth resents Sue’s neglect of the schedule causing further decay, whereas Sue is horrified by Elisabeth’s self-destructive behavior and binge eating. After a violent episode during Elisabeth’s tenure, Sue hoards stabilizer fluid and refuses to revert.

Three months later, on the night before the New Year’s Eve event, Sue exhausts her supply of stabilizer and is forced to switch back. Elisabeth returns as an elderly, grotesquely deformed hunchback. To halt further aging, Elisabeth orders a serum to end her life but interrupts the injection to revive Sue, resulting in both being conscious simultaneously. Recognizing Elisabeth’s plan, Sue kills her before assuming hosting duties.

Without Elisabeth’s body sustaining it, Sue’s form rapidly degenerates. She attempts to create another version using leftover serum despite warnings it is single-use only; this produces a monstrous hybrid—"Monstro Elisasue"—bearing both faces. Wearing a mask fashioned from an Elisabeth poster, Monstro Elisasue tries to present the show but chaos ensues when her disguise slips off. An audience member decapitates her; an even more grotesque head regenerates while one arm detaches and sprays blood over the crowd.

Escaping the studio amid pandemonium, Monstro Elisasue collapses and bursts into viscera. Elisabeth’s original face detaches and crawls onto her neglected star on the Hollywood Walk of Fame, smiling briefly before dissolving into blood that is cleaned up by janitorial staff the following day.

Production

The Substance emerged as a collaborative international production involving France, the United Kingdom, and the United States. The film was developed through the joint efforts of Working Title (UK), A Good Story (France), Universal Studios, and the French company Blacksmith. Coralie Fargeat served as both director and producer, working alongside Working Title co-producers Eric Fellner and Tim Bevan. Blacksmith, a Paris-based outfit established by Fargeat in 2022, also played a significant role in the production process.

Principal photography commenced on May 9, 2022, and wrapped up in October 2022 after 108 days of filming. The project's budget was estimated to be between $17.5 million and $18 million.

Conception and screenplay

Following the positive reception of Revenge (2017) in the American market, Coralie Fargeat was approached to direct large-scale studio projects, including Marvel’s Black Widow (2021). She opted against these opportunities due to the absence of final cut authority. After spending several months in Los Angeles, she began drafting The Substance as a speculative screenplay in Silver Lake, choosing to take on a producer role to maintain creative autonomy. After multiple discussions, Eric Fellner from Working Title convinced her to collaborate with their company. The script development spanned two years and drew loose inspiration from her earlier short film Reality+ (2014), with the entire endeavor from initial concept to release taking five years. Written in both English and French, the screenplay aimed at English-speaking audiences to maximize market reach.

Fargeat extended her examination of feminist themes introduced in Revenge, concentrating on societal expectations imposed on women. Writing in her forties, she grappled with concerns about aging and relevance, channeling these feelings into the film’s body horror elements as a means of expressing internalized violence related to female identity and aging.

The screenplay totaled 146 pages but contained only 29 pages of dialogue, showcasing Fargeat’s literary approach that emphasized detailed sensory imagery such as soundscapes and precise close-ups. She deliberately excluded explicit character histories, instead revealing personalities through behavior, environments, and symbolic costume choices—like Elisabeth Sparkle’s yellow jacket symbolizing heroism and Sue’s pink leotard representing femininity. The character Sue was named to evoke iconic figures associated with classic beauty such as Lolita and Marilyn Monroe, while Elisabeth’s name was selected for its connection to Old Hollywood glamour.

One pivotal sequence—the emergence of Sue from Elisabeth’s back during a shower scene—was the initial scene Fargeat wrote and described as central to the film’s visceral impact without relying on dialogue. Elisabeth was portrayed as an aerobics instructor, inspired by Jane Fonda’s transition into fitness videos, allowing exploration of societal perceptions regarding women’s bodies.

In terms of musical influence, Fargeat drew from avant-garde scores like Mica Levi’s composition for Under the Skin (2013), aiming for rhythms that simulate a novel human heartbeat. Additionally, she infused elements of hypersexualized music for the film’s fictional Pump It Up television show.

Casting

Fargeat’s initial casting focus was on Elisabeth Sparkle, the pivotal character steering the story. She aimed to find an actress firmly established within the star system, ultimately selecting Demi Moore despite early reservations about her participation. After several actresses declined, Moore agreed to join upon reading the script, captivated by its daring exploration of aging and feminist issues, even though she was unfamiliar with body horror. Moore regarded the role as a major artistic challenge that stretched her beyond familiar territory.

Having previously worked as a trainee assistant director on Moore’s film Passion of Mind, Fargeat admired Moore’s tenacity and trailblazing career choices, including her feminist stances and willingness to take risks. Their collaboration involved six in-depth discussions addressing the film’s intense physical demands, nudity requirements, and budget constraints.

Moore acknowledged the meta dimension of her character but clearly differentiated herself from Elisabeth’s solitary commitment to career over family life. She resonated with Elisabeth’s emotional struggles and perceived both Elisabeth and Sue (portrayed by Margaret Qualley) as extensions of Fargeat’s own vision. Moore later highlighted how the complex role contributed significantly to her growth both personally and professionally.

Fargeat paired Moore with Margaret Qualley, whose dance training suited the physicality required for Sue’s character. Qualley was attracted to portraying someone quite different from herself and undertook extensive preparation, including weight training to embody a sex symbol persona. Their rapport was further strengthened by indirect connections: Moore had previously collaborated with Qualley’s mother Andie MacDowell, while Qualley was acquainted with Moore’s daughters.

Originally cast in the role of Harvey, Ray Liotta passed away in May 2022 and was replaced three months into filming by Dennis Quaid. For the voice of Substance, Fargeat chose American actor Yann Bean after a thorough search for a voice that could evoke a seductive, devilish allure.

This deliberate casting strategy enhanced the film’s thematic complexity and commercial potential by combining star appeal with demanding physical performances to immerse viewers in a provocative exploration of aging and identity.

Filming

Principal photography took place entirely in France, employing an all-French film crew except for British cinematographer Benjamin Kračun and composer Raffertie. Studio sequences were shot at Epinay Studios near Paris, a historic location where Jean Cocteau filmed Beauty and the Beast. Exterior scenes standing in for Los Angeles were filmed along the Côte d'Azur, including Antibes sites such as the Anthéa Theatre (doubling as a hospital) and Marineland parking area. Palm trees were captured in Cannes, with additional footage shot in Nice, Carros, and Saint-Laurent-du-Var. France was selected due to its advanced practical effects infrastructure and eligibility for the 40% Tax Rebate for International Productions (TRIP).

Fargeat chose Kračun after admiring his cinematography on Promising Young Woman (2020). He primarily utilized the Alexa LF camera for its precise skin tone rendition, complemented by vintage Canon K35 lenses ideal for numerous close-up shots. Additional optics included Angénieux Optimo zoom lenses, Leitz Thalia, Cooke Optics macros, and a Leitz M 0.8 lens employed for body-mounted camera sequences. Red V-Raptor and Komodo cameras were deployed for high-resolution visual effects shots and helmet-mounted rig footage.

Filming proceeded mostly in sequence, adopting a "lab shoot" method during the final month to capture insert shots with a reduced crew. Scenes involving heavy prosthetics—such as injections and body transformations—were scheduled during this phase. Fargeat meticulously storyboarded all prosthetic sequences during pre-production to anticipate costs and logistical challenges; notably, the birth scene required 15 days of shooting. Fargeat personally performed syringe injections as a double for Demi Moore. Crew size fluctuated from as few as 6 during lab shoots to over 200 when managing complex practical effects.

For the infinity tunnel effect, Kračun engineered a rotating LED-lit apparatus using bicycle tires encircling a fixed camera rather than relying on elaborate rigging. Fire effects shaped like dragons were created practically on the studio floor before being composited into final scenes.

During a lunch scene, Quaid consumed roughly of shrimp.<refn group=note>Estimates range between 2 kilograms and 4 pounds.</refn>

Margaret Qualley described mastering the choreography as demanding due to performing alongside professional dancers. Despite her ballet background, she felt ballet was not well suited to this style and chose to rehearse privately following an emotionally intense initial session. On filming day, anxiety led her to consume cannabis and tequila. She later appreciated the dance sequence as providing contrast against slower-paced scenes.

Moore remarked on Fargeat’s visually symbolic directing approach that favored close-ups instead of conventional wide establishing shots. To meet these demands, Moore focused on subtle physical expressions and worked remotely with a movement coach for strenuous scenes. During production, Moore contracted shingles resulting in significant weight loss.

Though two days of exterior shooting had been planned in Los Angeles, test shots of palm trees enabled Fargeat to reduce location filming. Only still backdrops were captured in Los Angeles’ Laurel Canyon.

The special effects team utilized approximately of artificial blood,<refn group=note>Estimates vary between 21,000 and 36,000 gallons.</refn> deploying fire hoses to spray blood onto extras during one-take audience shots. Kračun recalled Fargeat’s ambitious vision involving fire engines full of blood dousing crowds.

Filming theater scenes extended close to three weeks due to technical difficulties managing blood dispersion, pressure regulation, waterproofing equipment, and safety protocols including showers for extras. Kračun captured footage from within the audience while Fargeat operated cameras and controlled hoses; upon completion they celebrated their successful collaboration.

Sets

The construction of the primary sets for The Substance spanned three months, encompassing Elisabeth's apartment—which included distinct areas such as the bathroom and a concealed room—as well as the New Year's Eve theater and the hallway of a TV studio. The apartment’s expansive panoramic window was designed to represent Elisabeth’s past intertwined with Sue’s future. Director Fargeat aimed for the apartment to embody a "timeless, old-fashioned yet futuristic" essence, adding layers of symbolic meaning. Initially, the production considered using LED screens to depict the Los Angeles cityscape through the window, but this approach was discarded due to prohibitive costs, technical challenges, and the inability to replicate the sharp sunlight effect desired. Instead, a 115-foot by 42-foot Rosco SoftDrop backdrop was employed, evoking a romantic, Hitchcockian atmosphere; cinematographer Kračun described the film’s visual style as "pink noir." Fargeat expressed satisfaction upon seeing the tangible set, having anticipated shooting primarily against greenscreens.

The bathroom set was conceived by Fargeat as a metaphorical "cocoon," representing an abstract and stylized mental space. She resisted the production designer’s inclination toward realism, deliberately avoiding furniture or wall sconces to preserve stark lighting conditions.

For the birth sequence’s point-of-view shots, two identical bathroom sets were constructed to simulate mirror reflections: Qualley performed in one set while Kračun operated a head-mounted camera alongside a body double in the other. Due to synchronization difficulties, hand movements were later re-filmed against green screen. Some shots utilized an actual mirror positioned between the sets to capture authentic reflections. The scene featuring Moore on the floor was captured entirely in-camera by building an oversized shower set that was three times taller than standard dimensions.

Once filming wrapped on the apartment set, it was dismantled to make way for the theater set, which Fargeat described as "rising from the ashes of the apartment." Plans to shoot in an actual theater were scrapped after producers recognized that extensive blood effects could damage the venue and entail legal complications.

Costumes

Emmanuelle Youchnovski was appointed costume designer after reviewing the script and assembling a Pinterest board for Fargeat. Her creative process drew heavily from fashion photography and notably from the Queen Margot poster, particularly influencing Monstro’s finale attire.

Youchnovski developed contrasting wardrobes for Elisabeth and Sue. Elisabeth’s clothing highlighted masculine traits with tailored suits that revealed minimal skin, featuring glossy fabrics and primary colors such as blue, red, and black. Unsatisfied with existing options for Elisabeth’s yellow coat, Youchnovski designed and fabricated a bespoke piece using fabric sourced from London within a month. The coat’s broad shoulders and oversized pockets lent it an armor-like quality that complemented the film’s palette of sunshine yellows and egg tones. Although Moore initially questioned its suitability for Los Angeles summers, Fargeat insisted on its importance for character portrayal. Moore retained this yellow jacket as a keepsake post-production.

Sue’s costumes accentuated femininity through revealing designs incorporating pink metallics, black Louboutin boots, and a tennis skirt. Her pink leotard drew inspiration from Beyoncé’s "Blow" video and Dua Lipa’s stage outfits. As the narrative unfolds, Sue’s attire darkens to reflect themes of danger and serpentine qualities. Her custom bomber jacket bears an "S" symbolizing both "Sue" and "Snake," paired with a catsuit crafted to act as a second skin. Achieving the desired sheen on the snakeskin pattern required several iterations. The dragon robe worn by Sue—signifying rebirth and dominance—was Youchnovski’s most intricate creation, embellished with 10,000 sequins over two months.

For Monstro’s dress, Youchnovski reversed her usual method: she first designed the costume based on a prosthetic mockup created in London before adapting it specifically for Qualley due to limited access during prosthetics fitting sessions.

Harvey’s wardrobe showcased vibrant suits from Etro and Dolce & Gabbana, intended to evoke an eccentric wealthy persona.

Throughout the costumes, Youchnovski integrated a spinal column motif. Elisabeth is introduced wearing an open-back dress; following her intake of the substance, she dons a red Balmain dress featuring a zipper echoed by Sue’s zipped catsuit. Both Moore and Qualley underwent approximately three fittings each, with Youchnovski emphasizing comfort while refining each character’s silhouette through iterative sketches adjusting color schemes and detailing.

Post-production

Fargeat characterized post-production as the most demanding stage, spanning approximately eighteen months. Managing over 300 hours of dailies, a major difficulty involved timing scenes with sparse dialogue, often adjusted in response to music, visual effects, and sound design elements. The post-production process wrapped up merely three days before the film’s debut. The visual effects, crafted by NOID Studio, required an entire year to finalize.

The editing team included Jérôme Eltabet, Fargeat herself, and Valentin Feron. Eltabet, who had previously worked with Fargeat on Revenge and served as her editing instructor, joined midway through filming and assembled an initial rough cut lasting three and a half hours. Following the shoot, Eltabet and Fargeat dedicated six months to expanding the film’s length to four and a half hours. They worked on different segments individually using Adobe Premiere Pro, exchanging these for mutual enhancement. Given the extensive number of revisions—some scenes underwent between 150 and 200 versions—Feron was later brought in to offer an outside viewpoint. Several sequences were removed due to insufficient impact, including those featuring Elisabeth’s agent. The editing of the theater climax proved particularly complex because of issues with prosthetics.

Sound designers Valérie Deloof and Victor Fleurant collaborated closely with Fargeat, who inserted sound effects and annotations directly into the editing timeline. The team developed unique textures and auditory layers to enrich the meaning of scenes—for instance, substituting chainsaw sounds for an electric mixer or using pistol handling noises for injection-related shots.

To capture the first-person perspective during birth scenes, microphones recorded breathing filtered through cranial resonance to evoke immersion in amniotic fluid, complemented by boom and high-frequency microphones for versatile sound capture.

Harvey’s scenes highlighted his formidable presence through intensified sound design; ambient background noise was subdued to emphasize particular effects such as the moistness of shrimp or the heaviness of his boots.

The soundscapes were designed to reinforce thematic undertones: street ambience gradually shifted into unsettling suburban noises that hinted at impending danger; inside a storage facility, metallic sustained tones combined with sterile neon lighting created a sense of unease.

Visual effects merged prosthetic work on Moore with a body double for a low-angle shot depicting "Gollum" pounding on a bathroom door.

To replicate the softness observed on set, Kračun’s projection was downscaled to 2K resolution before being upscaled back to 4K resolution, whereas footage from television shows maintained its original 4K clarity.

Music

The film score was composed by British producer Raffertie, who joined the project late in post-production around January 2024 and had only a few months for completion. At director Fargeat’s request, Raffertie crafted an electronic soundtrack that underscored the contrast between Elisabeth and Sue, blending organic nostalgic sounds with synthetic contemporary elements.

Design and effects

Fargeat emphasized the use of practical effects, relying heavily on prosthetics and makeup to constitute approximately 70–80% of the film’s visual effects, deliberately avoiding less costly digital methods to more effectively express the film’s violent themes. The effects were overseen by Pierre-Olivier Persin and his Montreuil-based company Pop FX in Seine-Saint-Denis. Persin led a team of 15 artists throughout 11 months spanning pre-production and filming. Recommended by executive producer Nicolas Royer, Persin replaced the originally contracted firm whose designs, while artistically strong, were considered too masculine for Fargeat’s vision of a "Picasso of male expectations" creature.

Persin crafted a plasticine model of the climactic monster, dubbed "Monstro Elisasue," reflecting Fargeat’s idea of a being that melded elegance and humility with features reminiscent of Sue. Over the course of a month, they collaborated to fine-tune the design, adding distinctive details such as a tilted head and an arm bent backward.

Elisabeth’s metamorphosis was segmented into five distinct phases—from the initial withered finger stage ("The Finger") through "Requiem," "Gollum," "Monstro Elisasue," and finally "The Blob." Fargeat sought deformations that conveyed emotions like fear and rage rather than strict realism. There was some disagreement regarding how quickly these transformations should occur; makeup artist Stéphanie Guillon favored maintaining Elisabeth’s beauty at first, whereas Fargeat insisted she appear flawed from the outset.

Applying prosthetics varied widely in duration, taking anywhere from 45 minutes to as long as 7 hours depending on complexity, occasionally limiting daily shooting time. A pivotal silent scene features Moore removing her makeup in front of a mirror—described by Fargeat as the emotional heart of the film, demanding flawless acting, precise timing, and optimal lighting. After 11 takes, makeup application was halted to preserve Moore’s skin health.

For nude sequences, Margaret Qualley wore bespoke breast prostheses designed to evoke an idealized form reminiscent of Jessica Rabbit, enhancing her on-screen presence through meticulous prosthetic artistry.

Birth of Sue

Early during production, lacking life casts or scans from the actresses, Persin created and filmed a 30 cm maquette depicting the opening back for Fargeat’s approval. This allowed him to commence work on that particular scene.

Initially, Persin anticipated that the bathroom prosthetics would benefit from atmospheric lighting inspired by films like The Howling or works by Dario Argento. However, he soon realized this was not the case: "At first, I asked Coralie if we’d have dark lighting with shadows to conceal some silicone parts, and she agreed. Then it turned out to be bright white tiles."

For the birthing sequence, Persin utilized a combination of prosthetics applied to body doubles and puppetry techniques, employing two faceless, hyper-realistic silicone dummies that required between one and one-and-a-half months to fabricate. The entire scene relied on practical effects except for a close-up showing an eye splitting. Shots featuring the back splitting utilized dummies positioned on an elevated set operated by 5–6 puppeteers below while Fargeat directed nearby. When it came to stitching the back, Persin alternated between using a dummy and prosthetics directly applied onto the actresses’ skin.

Achieving realism was paramount: pores and cellulite were painstakingly recreated with multiple layers of reds, yellows, greens, blues, and ochres applied through a pointillist technique since no single paint could replicate natural skin tone. To prevent an overly rubbery or elastic appearance, the prosthetic combined soft materials with firmer edges around wounds to simulate realistic needle weaving. The spine scar and various other prosthetic elements were applied not only to Moore but also to two stunt doubles and two body doubles.

The Finger

Persin’s first endeavor centered on developing a finger prosthetic, which initially looked implausible and was likened to "Mickey Mouse". Refining this design took a full month and caused a temporary halt in other prosthetic projects until the finger met Persin’s criteria for a harmonious and natural appearance, ensuring it was no bulkier than an actual finger. Achieving this involved crafting exceptionally thin prosthetics and reworking all designs twice. A prosthetic arm was employed during the scene where Moore washes her finger in the sink.

Requiem

Persin commended Moore’s dedication throughout the lengthy five- to six-hour process of applying prosthetics for the "Requiem" sequence, likening the experience to "a six-hour dental appointment." The production team respected Moore’s decision to delay a scene after noticing deterioration in her prosthetics during earlier takes, demonstrating appreciation for their craft.

Because Moore has partial blindness in one eye, she requested minimal makeup application near that area. Persin initially anticipated digital touch-ups but discovered that most visual effects were achieved with practical prosthetics affixed directly onto the skin. Certain shots, such as Elisabeth’s leg in the shower, utilized artificial body parts. For scenes involving a stuck kneecap, a modified chair concealed Moore’s real legs while revealing silicone mechanical prosthetics. To create the effect of translucent skin, thin prosthetic pieces were designed to allow veins and bones to be visible beneath.

Gollum

Moore’s transformation into "Gollum" required extensive silicone prosthetics applied directly onto her body, incorporating red and blue wool fibers to simulate veins. Silicone was selected for its lifelike texture and resistance to wrinkling during action sequences. For running scenes, a slimmer body double replaced Moore to highlight Gollum’s “spider-like” physique.

A highly detailed fake head capable of realistic bleeding was fabricated for the mirror-smashing scene. Qualley performed the action of smashing the fake head against the mirror, while Moore mimed the motion later; visual effects seamlessly merged these elements to portray both impact and Moore’s reaction convincingly.

Monstro Elisasue

Despite previous creative disagreements, Persin and Fargeat reached consensus on "Monstro." Due to tight scheduling—the design was finalized after filming had started—Persin subcontracted construction to UK-based Igor Studios (Dave and Lou Elsey). The finished design featured five prosthetic heads (including one with an opening cavity that splits open to reveal a breast connected by an umbilical cord), two complete bodysuits, two partial suits, and a cast of Moore’s head. The suit was entirely practical except for Moore’s screaming facial expression, which was created through digital effects using photogrammetry scans by Clear Angle Studios.

Persin drew creative inspiration from French sculptor Niki de Saint Phalle, artist Fernando Botero, and David Cronenberg’s 1986 film The Fly.

Although initially hesitant about Qualley wearing the full suit with only her eye exposed, Fargeat eventually had Qualley perform close-up shots that amplified Monstro's onscreen presence. Qualley described enduring six-hour-long prosthetic applications over eight days as "torture." The suit caused severe facial breakouts that took over a year to heal, affecting her subsequent roles. To mask blemishes, shots were carefully composed, and a cooling vest was integrated within the suit to prevent overheating.

Fargeat himself wore the suit for blood-spraying point-of-view shots, operating the camera without wearing the headpiece. Persin also donned the suit to manipulate a breast puppet, enduring multiple takes that resulted in numbness in his arms. The latex absorbed blood quickly, necessitating daily repainting, resewing, and drying; vodka was sprayed inside each night for sanitation.

Toward the end of filming, restricted mobility required transporting the stunt performer on a dolly. Early tests of the blood rig led to a slip and roll down the blood-covered hallway featured late in the movie.

The Blob

To capture Moore’s facial expressions in the film’s concluding scene, Fargeat sought to maintain the authenticity of her performance. Persin and his crew engineered a puppet-like blob that was physically manipulated and composited onto Moore’s face using visual effects. This creation was referred to as "Gremlin" in the production schedule, inspired by the dissolving Stripe character from the 1984 movie Gremlins.

Release

The Substance competed for the prestigious Palme d'Or at the 2024 Cannes Film Festival, where it premiered on May 19, 2024, and was met with a standing ovation. The film then debuted at the Sydney Film Festival on June 16, 2024, followed by screenings at the Karlovy Vary International Film Festival, Munich International Film Festival, Odesa International Film Festival, and New Horizons Film Festival.

Initially slated for release through Working Title’s parent company, Universal Pictures, the studio ultimately withdrew due to apprehensions about distributing the film. Post-production encountered hurdles, including a contentious test screening where Universal executives requested a re-edit; however, Fargeat exercised her contractual final cut rights to prevent changes. This dispute prompted Universal to exit the distribution arrangement despite confidential backing from one executive.

Prior to Cannes, worldwide rights were acquired by Mubi (streaming service) for an estimated $12.5–15 million, with plans for theatrical runs in North America, the UK, Germany, Latin America, Benelux countries, Turkey, and India. Global sales were managed by The Match Factory. Theatrical release commenced on September 20, 2024, across major territories including the US, UK, Latin America, Germany, Canada, and the Netherlands; Spain followed on October 11. Metropolitan Filmexport secured French distribution rights with a scheduled release on November 6.

Worldwide marketing and distribution expenses stayed below $20 million overall and remained in single digits within the US market. Promotional efforts included striking visuals such as a chicken bone and a glossy pink leotard, all under Fargeat’s creative direction. Demi Moore’s social media outreach engaged her 15 million followers and contributed to an estimated cumulative digital audience of 45 million across platforms like TikTok and Instagram.

As part of its awards season strategy preceding the 97th Academy Awards nominations announcement on January 23, The Substance returned to US cinemas on January 17, 2025.

Home media

On October 31, 2024, The Substance became available for streaming on MUBI’s platform and on VOD in select territories. The United Kingdom saw its DVD and Blu-ray release on March 31, 2025, while in the United States it was issued on 4K UHD, DVD, and Blu-ray formats beginning January 21, 2025.

The soundtrack was digitally launched by Waxwork Records on September 20, 2024. A limited edition vinyl LP titled "Activator Fluorescent Green" was also made available for pre-order alongside the digital release.

Box office

Worldwide earnings for The Substance totaled between $77.3 million and $82 million, comprising $17.6 million from the United States and Canada and $59.7 million from international markets.

During its opening weekend in North America—competing against Transformers One and Never Let Go—the film was projected to generate approximately $3 million from 1,949 theaters. It garnered $1.3 million on its initial day (including $512,000 from preview screenings) and debuted with a $3.2 million total, ranking sixth at the box office. The following weekend saw a 39% decline with receipts of $1.8 million.

The Substance became Mubi’s most commercially successful release domestically, surpassing the $10 million gross of Priscilla (2023). In its first week of premium VOD availability, it reached #3 on iTunes and #6 on Fandango at Home. Mexico represented its strongest international market with theatrical earnings exceeding $10 million.

Critical response

On AlloCiné, the film earned an average score of 3.6 out of 5, based on evaluations from 39 French critics. Audience feedback collected by CinemaScore assigned it a "B" rating, while PostTrak noted an 80% overall positive response, with 75% of viewers recommending it.

Peter Bradshaw from The Guardian awarded the film four stars, describing it as "a gleefully absurd and extravagantly indulgent gonzo body-horror comedy." David Ehrlich of IndieWire gave it an A grade, calling it "a grand, bold body horror triumph... the most delightfully twisted cinematic event of the year." Nicholas Barber at the BBC also rated it four stars, emphasizing Moore's "fearless" portrayal as her finest in many years. Phil de Semlyen from Time Out bestowed five stars, lauding Moore's "unpretentious performance filled with wounded pride, emerging terror, and vulnerability."

Owen Gleiberman of Variety praised director Coralie Fargeat for crafting a "strangely enjoyable, cathartically grotesque blend" reminiscent of grindhouse films. Radhika Seth writing for Vogue described the movie as an "audacious cinematic work" and a strong Palme d'Or contender. Damon Wise at Deadline characterized it as "a wild, surreal horror-thriller" culminating in a "frenzied symphony of gore and chaos." In contrast, Javier Ocaña from El País criticized the film for its lack of nuance and similarity to previous works.

Filmmakers such as Ana Lily Amirpour, Edward Berger, Davy Chou, Kelly Fremon Craig, Robert Eggers, Adam Elliot, Hannah Fidell, Michael Gracey, Kitty Green, Laurel Parmet, Rich Peppiatt, and Juel Taylor included this film among their favorite releases of 2024.

In June 2025, IndieWire positioned the movie at number 91 on its compilation of "The 100 Best Movies of the 2020s (So Far)." The following month, it was ranked 126th in The New York Times Readers' Choice list titled "The 100 Best Movies of the 21st Century."

Accolades

The Substance has garnered notable acclaim within the film industry. At the 77th Cannes Film Festival, Coralie Fargeat was honored with the Best Screenplay award. Although the film was a contender for the prestigious Palme d'Or, it ultimately lost to Anora. During the 32nd International Film Festival of the Art of Cinematography Camerimage, cinematographer Benjamin Kračun earned a nomination in the Director's Debuts Competition; however, Fargeat chose to withdraw the film following contentious comments about women made by festival director Marek Zydowicz.

At the 82nd Golden Globe Awards, The Substance secured five nominations: Best Motion Picture – Musical or Comedy, Best Director for Fargeat, Best Actress for Demi Moore, Best Supporting Actress for Margaret Qualley, and Best Screenplay also for Fargeat. Demi Moore won in her category and additionally received the SAG Award for Outstanding Performance by a Female Actor in a Leading Role at the 31st Screen Actors Guild Awards.

At the 97th Academy Awards, The Substance was nominated in five categories and won the award for Best Makeup and Hairstyling. The nominations included Best Picture, Best Original Screenplay, Best Director for Fargeat, and Best Actress for Moore. Fargeat made history as the first woman to receive Oscar nominations both for writing and directing a horror film, as well as becoming only the ninth woman ever nominated for directing overall at the Academy Awards.

Themes and influences

Wendy Ide of The Guardian emphasized The Substance’s feminist approach to portraying older women, contrasting it with female-driven horror classics such as Carrie and Rosemary's Baby, which primarily address themes around menstruation and childbirth. She pointed out that this film explores the complications that emerge after fertility declines. Alissa Wilkinson from The New York Times described it as an examination of the male gaze, utilizing exaggerated camera techniques reminiscent of pornography, which introduces a satirical and occasionally comedic element. Wilkinson further highlighted its engagement with concepts of mind–body dualism.

Alison Willmore of Vulture identified addiction as a key motif, likening the narrative to Requiem for a Dream. Elisa Battistini of Scraps from the Loft characterized it as an amalgamation of Death Becomes Her, Society, and Tetsuo. Multiple reviewers have also drawn parallels between this film and Oscar Wilde’s 1890 novel The Picture of Dorian Gray.

The movie’s inspirations include works by filmmakers such as David Cronenberg (The Fly), John Carpenter (The Thing), the Joel and Ethan Coen (Barton Fink), David Lynch (Mulholland Drive), Darren Aronofsky (Requiem for a Dream), and Stanley Kubrick (2001: A Space Odyssey).

External links

• Official site
• Complete Screenplay