movies

This is the best summary I could come up with:

In the film, which received a rapturous 11-minute standing ovation after its Cannes premiere last night, Moore plays a faded Hollywood superstar, whose yearning for youth leads her to an experimental procedure: once injected with a mysterious fluid, she births an alternate version of herself (played by Margaret Qualley) – someone sparkling with sex appeal and youthful pep, whose body she can only ever inhabit for a total of seven days at a time, before she must revert back to her older self.

“The places that risk takes her in the movie’s absolutely bonkers final act will have your jaw on the floor, if it’s even still attached to your body.” “Ripping into her best big-screen role in decades, Moore is fearless,” raved the BBC.

(Her demand for pay parity with the male movie stars of the Nineties didn’t earn her media respect back then, but a snarky nickname: “Gimme Moore”).

In the former, her character turns to exotic dance to pay the bills; Moore’s nudity and her sculpted, toned physique made up the entirety of the film’s marketing campaign.

No one really spoke about her acting – her determined resolve in GI Jane, or the haunting image of her keeling over in agony in the TV film If These Walls Could Talk, her character having undergone a clandestine abortion.

The Substance is, in a sense, a bold move for Moore, and there is a meta thrill to her playing an actor mourning her heyday and fixated on age and experimental plastic surgery (she had to repeatedly deny in the mid-Noughties that she’d spent $300,000 on cosmetic work ahead of filming 2003’s Charlie’s Angels: Full Throttle).

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