Realização:
Coralie FargeatArgumento:
Coralie FargeatCâmara:
Benjamin KracunMúsica:
RaffertieElenco:
Demi Moore, Margaret Qualley, Dennis Quaid, Hugo Diego Garcia, Oscar Lesage, Joseph Balderrama, Vincent Colombe, Matthew Géczy, Brett Gillen, Matthew Luret (mais)Sinopses(1)
Após ser demitida da TV por ser considerada “velha demais” para ser atriz, Elisabeth Sparkle (Demi Moore) recorre a um sinistro programa de aprimoramento corporal. A substância milagrosa promete rejuvenescê-la, mas resulta em uma transformação ainda mais radical. Ela agora precisa dividir seu corpo com Sue (Margaret Qualley), sua versão jovem e melhorada, e, aos poucos, começa a perder completamente o controle da própria vida. Em um pesadelo surreal sobre a busca incessante pela juventude, A Substância revela o preço oculto da perfeição. (Imagem Filmes)
(mais)Vídeos (6)
Críticas (20)
Não se deixe desencorajar pela premissa superficial e pela estilização de filme B. Refletindo as regras do show business televisivo, é intencionalmente superficial. O velho deve ser substituído por jovem com corpo perfeito. E as estrelas estão dispostas a fazer qualquer coisa pelos seus corpos. Nos primeiros cem minutos, mal podia acreditar na presença de uma obra tão barata e estilizada na seção competitiva do Cannes FF. No entanto, Coralie Fargeat tem um plano maior conosco e transforma tudo em reviravoltas inesperadas - com o conflito psicológico interno do protagonista e, em termos de género, seguindo o exemplo da obra de splatter inicial de Peter Jackson. E isso até o ponto transcendental do espetáculo de horror, no qual não tem medo de usar de forma engraçada até a música de A Mulher Que Viveu Duas Vezes de Herrmann ou de 2001: Odisseia no Espaço de Strauss. Perfeitamente escolhida, Demi Moore no papel da decadente e Margaret Qualley no papel da estrela ascendente do show televisivo. Esta última, a propósito, também está em novo filme de Lanthimos neste Cannes, experimentando uma verdadeira ascensão de carreira. Obrigado, Tarantino, por descobri-la! Se o filme não brincasse de forma tão óbvia e previsível com elementos de filme B nos primeiros cem minutos, eu daria cinco estrelas! ___ Parece que as diretoras de cinema mostram muito mais nudez feminina do que os diretores nos filmes. Exemplos apenas desta edição do Cannes, como The Balconettes e The Substance, onde podemos observar detalhadamente os seios de Demi Moore e Margaret Qualley. Sem falar da avalanche das suas curvas em lycra. Delícia! [Cannes FF] ()
Um lixo artístico, em que se misturam a elegante e eficaz cinematografia moderna com o intenso body-horror de filme B, que leva os espetadores com estômagos mais fracos a desviar o olhar ou até mesmo sair da sala durante a projeção. Muita estética soft-pornográfica de videoclipe, às vezes um pouco como se David Cronenberg realizasse O Soro Maléfico, mas no final o filme se junta ao grupo dos splatters sangrentos, como Braindead - Morte Cerebral de Peter Jackson. Em termos de pensamento, como uma sátira ao desejo autodestrutivo da eterna juventude e beleza, é bastante direto e superficial - provavelmente intencionalmente - e em termos de enredo, o filme não se importa muito com o sentido e não hesita em quebrar as suas próprias regras. Tudo é subordinado ao fato de que o filme constantemente empurra os limites das expetativas e choca várias vezes com a extensão a que está disposto a ir. Mas é filmado com uma energia pulsante sem precedentes, graças ao ritmo ágil, música pulsante, composições visuais refinadas e ambas as atrizes principais (e o lindamente repugnante Dennis Quaid em um papel secundário), é realmente um prazer de ver, uma diversão over-the-top para os corajosos. É ideal desfrutar disso como uma experiência coletiva com muitos outros espetadores. ()
Someday when I'm explaining to someone what "nice but shitty" means, I'm going to put this movie on. Or at least half of it, so they don't have to watch it for those excruciating two and a half hours. Coralie Fargeat had already disappointed me a lot with her previous film Revenge, but the two films have a lot in common. They look beautiful, there's imaginative play with colour, and in this case there's even some pretty stylish references to Kubrick, Cronenberg or Carpenter, the slow motion shots of TV performances are more than effective and damn sexy, but underneath all the glitz there's a lot of nothing. The Substance is a film that would like to open up interesting themes like the inability to age, the cult of youth in show business, and it also tackles the price of fame and how much anyone is willing to pay for it. But it does all this in a completely banal way that surprises no one and takes an insufferably long time to do so. After about twenty minutes I had already made a list in my head that The Substance will follow until the very end. And just kept ticking it off. Realistically, underneath the audiovisual audacity is a shallow, idealess show full of stupid characters making even stupider decisions and pretending to be surprised by the consequences. It's tiresome to watch, and behind all the pretty pictures, the tastelessness (which isn't so hellish after all), the nudity and the shots of sexy asses in spandex, there's just a perfumed nothingness ()
Take an archetypal story about selling one’s soul out of the desire for eternal youth, and wrap it up in flesh and skin for the sake of disgusting physical details, because what would be considered exploitation trash anywhere else becomes a bold, boundary-pushing work in the context of Cannes. Add (superficial) criticism of the male gaze, because that’s also trending at festivals. Then all that’s left to do is to launch a sensational advertising campaign and voilà, the most overrated film of the year appears on the scene. ___ Like Revenge, Coralie Fargeat’s first (and better) film, Substance entertained me with its brutal straightforwardness and polished visual aspect (even though it’s often merely a rip-off of Kubrick and others). It could have been an excellent short, a horror comedy updating The Picture of Dorian Gray for an era when all of us are creating our own virtual selves, which garner all of the love and attention while we rot away alone at home. Over the course of its 140-minute runtime, however, it becomes apparent that Substance is a case of overblown ambition and a single idea that is banged on about for so long and so repetitively that a bloody pulp is all that remains of it during the splatter climax (which is the least necessary and most entertaining part of the film). ___ Whereas Cronenberg, with whom Fargeat is unfairly compared, conveys the ideas of McLuhan and Baudrillard in an original way, Substance lacks substance and is just an unoriginal and shallow compilation of motifs taken from the works of directors (oddly all men) such as Frank Henenlotter, Stuart Gordon, Brian Yuzna, Brian De Palma, Peter Jackson and David Cronenberg himself. ___ I would be reluctant to describe this film as feminist because, on the one hand, of the numerous shots in which women’s buttocks, breasts and crotches are pornographically filmed without that being motivated by the perspective of any character or of the television camera (the film merely takes such hypersexualisation from the media, but without subverting it). And, on the other hand, because of the fact that here the female body and sexuality bring only disgust, pain and humiliation to the female protagonists and not give rise to any pleasant feelings (not even during the erotic scenes). For the director, the women are only soulless, suffering pieces of meat. They have no personality with which we would sympathise. ___ Substance didn’t work for me as a satire about beauty standards, because the media, cosmetics companies and social pressure play a marginal role in the narrative, which is mainly a struggle of one faded star. Show business as a whole is represented by a cartoonish sleazeball named Harvey (wink wink), who serves that same purpose in every scene. The most accurate commentary on the sexist entertainment industry and on the youth-and-beauty business is ironically provided by things occurring outside of the film, such as the fact that the Czech distributor Aerofilms is cynically promoting the film through a collaboration with a company that sells (real) rejuvenating products. So much for provocation and subversion. Substance is just a soulless festival product, Barbie for people with stronger stomachs. 65% () (menos) (mais)
A cautionary tale about the fact that rules are meant to be followed; especially when it comes to a miracle drug that you are about to inject into your body. At first, I was a bit miffed that I didn't detect an effort on the director's part to build atmosphere and try to scare the viewer, instead, she unleashes "just" an entertaining straightforward satire. But once the inner psychological struggle between the heroine's lust and rational will starts to manifest itself physically (I vividly remembered my attempts to quit smoking), The Substance takes on a crazy edge. There are several times when you think that this film will probably end soon, because it has already reached a point where other horror films only get to the final scene... but then Coralie Fargeat always injects another shot of body horror gunk into the film's veins and takes the ride up another level. This woman's got balls. I'm a little surprised it got the screenplay award at Cannes, because it kind of does what it wants in the finale, the rules of the fictional world are only loosely outlined; I would have expected more success with midnight screenings than with critics, but obviously miracles do happen sometimes. The Substance probably won't be my favourite horror film of the season at the end of the year, I always give preference to serious horror and dread in that regard, but at the same time it has to be said that few films have INSTANT CLASSIC written all over them in such big letters. ()
Publicidade