Demi Moore, Margaret Qualley, and Coralie Fargeat Discuss Fall’s Shocking Film

Sitting around a table with actors Demi Moore and Margaret Qualley, and writer-director Coralie Fargeat in a London hotel feels almost like therapy — albeit with publicists present. “The Substance,” Fargeat’s follow-up to her debut feature “Revenge,” is a bold body-horror film that tackles aging in Hollywood with a satirical edge. Set to hit theaters on Sept. 20, the movie caused quite a stir at the Cannes Film Festival, blending dark humor with unsettling themes.

Despite having wrapped up the film over a year ago, both Moore, 61, and Qualley, 29, are still coming to terms with the intense experience on set. Moore, reflecting on the ordeal, reveals, “I got shingles during my first week off.” Qualley chimes in, sharing her own post-filming struggles with acne and weight loss. Despite the hardships, both actors delivered performances that pushed them to new heights.

In the film, Moore plays Elisabeth Sparkle, an Oscar-winning TV fitness instructor who is unceremoniously fired on her 50th birthday. Despite remaining glamorous, her career plummets as she pursues a mysterious back-alley miracle cure that allows her to intermittently inhabit a younger version of herself, played by Qualley. This plot cleverly dissects the Hollywood trope of women facing expiry dates with age.

Fargeat, 48, shares that the film also comes from a personal place, stemming from her own anxieties about aging. “Writing the film was a liberating gesture,” she says, as Moore nods in agreement. The film’s script features minimal dialogue, relying instead on striking visual storytelling. As Elisabeth’s body deteriorates and Sue refuses to switch back, the narrative unveils Elisabeth’s complicit destruction in a highly graphic and violent manner.

Moore acknowledges, “It’s really what she’s doing to herself that’s most violent.” She emphasizes how the film externalizes internalized self-criticism, offering viewers a chance to reflect on their own harsh judgments. Fargeat adds, “The movie can be scary on many levels but primarily plays with the violence of what we do to our bodies.”

The film inevitably draws parallels between Moore’s real-life experiences of sexism and ageism in Hollywood and her character’s plight. However, Moore emphasizes the distinction, saying, “There are different interpretations she could have had in responding to being fired; although, we wouldn’t have had the same movie.”

Qualley’s Sue embodies the male ideal, which made the role both challenging and terrifying for her. She underwent rigorous training to achieve Sue’s flawless body, meant to evoke icons like Marilyn Monroe and Jessica Rabbit. Qualley notes, “The movie has a pretty inspired message, so I thought it was important for that ‘perfect’ to be healthy, even if unrealistic.”

Both actors faced immense physical demands due to the extensive use of prosthetics. French makeup artist Pierre Olivier Persin created the special effects, drawing inspiration from classic films like “The Fly” and “The Elephant Man.” Qualley, in particular, faced intense isolation and discomfort while embodying Monstro, a monstrous fusion of her character and Elisabeth.

The most unsettling scene in the movie involves Dennis Quaid’s studio head character, who grotesquely consumes shrimp while firing Elisabeth. “By far the most violent scene in the entire movie is me having to sit across from Dennis Quaid eating shrimp,” Moore says, laughing yet clearly disgusted. Fargeat recalls the scene’s powerful impact at Cannes, particularly among men.

Quaid’s character symbolizes the pervasive sexism of studio executives who reduce women to mere objects. Moore recounts her own experiences with sexism, offering an anecdote from the set of “A Few Good Men” where writer Aaron Sorkin stood up for her against a studio exec’s sexist comment.

Despite the grueling experience, both actors found a sense of liberation through the film. “Finishing the movie felt like scratching an itch I needed to scratch,” Qualley says. Moore echoes this sentiment, reflecting on how the process deepened her appreciation for herself and her journey.

For Fargeat, the catharsis extends to both the filmmakers and the viewers. “You’re having the movie change you the same way you hope it will change the people who watch it,” she says. “I felt very liberated and more inclined to self-love.”

The film offers a liberation, albeit with less blood, to all who choose to watch.

Source: Los Angeles Times