Cannes film festival
Moore plays a fading Hollywood star whose career is set to be axed by misogynists when she’s offered a secret new medical procedure

Coralie Fargeat, known for the violent thriller Revenge from 2017 , now cranks up the amplifier for some death metal … or nasty injury metal anyway. This is a cheerfully silly and outrageously indulgent piece of gonzo body-horror comedy, lacking in subtlety, body-positivity or positivity of any sort. Roger Corman would have loved it. It’s flawed and overlong but there’s a genius bit of casting in Demi Moore who is a very good sport about the whole thing. And as confrontational satire it strikes me as at least as good, or better, than two actual Palme d’Or winners: Julia Ducournau’s Titane and Ruben Östlund’s Triangle of Sadness .

The Substance is a grisly fantasy-parable of misogyny and body-objectification, which riffs on the crazy dysfunctional energy of Roger Vadim and Jane Fonda with borrowings from Frankenheimer and Cronenberg. It’s about successful careers for women in the media and public life being contingent on being forced to keep another, older, less personable self locked away. But unlike Dorian Gray’s portrait, this can’t simply be forgotten about, but continually tended to. Fargeat saves up an awful reckoning for an odious media executive called Harvey, but in an interesting way locates her horror in women’s own fear of their younger and older selves.