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This piece was originally published May 21, 2024 out of the Cannes Film Festival.
We are recirculating it now timed toThe Substances theatrical debut.
Everyones talking aboutThe Substancetoday atCannes.
She runs her hands over her breasts, her butt, taking critical stock of what she sees.
Then she injects the Substance directly into her veins.
Her back splits open like a raw coconut, her flesh flapping, oozing blood from her new orifice.
A naked, slick Margaret Qualley crawls out.
Leaving Moores unconscious body on the cold floor, Qualley walks over to the mirror.
Shes mesmerized by her own beauty.
The scene is perfectly disgusting, twisted, darkly funny, and instantly memorable.
(And compared to what happens afterward, its practically benign.)
Those consequences make themselves apparent quickly, as Elisabeth and Sue begin to war with each other.
The back wound crusts over, goes purple, gets infected, oozes.
She yanks and pulls at her face in the mirror, screaming.
Things only get more horrific from there, both narratively and visually.
IndieWiresDavid EhrlichcalledThe Substancethe best film in Competition so far.
So that was the metaphorical way to show this.
I think this violence is very extreme.
Another reporter then asked Moore if the films full-frontal nude scenes gave her pause.
And finding that common ground of mutual trust.
We obviously were quite close in certain moments.
So I guess my perspective is I dont hold myself or the situation as a victim.
Shes still seeking external validation.
And in the end, she comes face-to-face with just fighting herself.
Because thats where we have to really look: within, not without.
She elaborated on the experience a few questions later.
There was something freeing about this exploration, she said.
It was a very raw experience that required vulnerability and willingness to expose myself emotionally and physically.
It definitely pushed me out of my comfort zone.
I feel like I came out on the other side in greater acceptance of myself as I am.
