The word ‘toxic’ feels like it’s really come into its own in the last few years. From Britney Spears shimmying around on a plane to its ever-presence as a relationship buzzword, ‘toxic’ can be used to identify anything from bad sex to institutionalised misogyny.

And it’s this concept of ‘toxic’ that brings forth new horror flick The Substance. Directed by Coralie Fargeat (Revenge) and starring Demi Moore (a triumphant return to the silver screen after way too long) and Margaret Qualley, The Substance is a cautionary tale about the toxicity of fame, beauty standards and the addictive nature of wanting to stay young forever – a theme that seems starkly relevant in today’s ‘tweakment’-obsessed society…

Moore plays Elisabeth Sparkle, a washed-up movie-slash-TV aerobics star who gets unceremoniously fired on her 50th birthday by boss Harvey (captured most despicably by a shellfish-eating Dennis Quaid). Rejected and questioning her future, Elisabeth comes upon a mysterious proposition in the form of The Substance – a programme that promises a ‘younger, more beautiful, more perfect’ version of herself. All she has to do is sacrifice her existing body every seven days to sustain this new avatar. So far, so very Death Becomes Her, right? Wrong.

After a particularly gruesome transition (Fargeat is obviously a fan of David Cronenberg’s 80s body horror classics such as Scanners, The Fly and Dead Ringers), Sue (Margaret Qualley) is born – young, vivacious and hungry for the fame that has long since been denied to Elisabeth. She’s peppy, Barbie-esque in cropped T-shirts, legwarmers and shimmery eye-shadow. She’s, for want of a better word, perfect. Or is she?

What follows is an action-packed fever dream of sensation-led horror. From the spandex-clad Qualley thrusting and gyrating to the track Pump It Up (this writer couldn’t help but think of the music video for the 2002 hit Satisfaction by Benny Benassi) to an incredible scene where Moore repeatedly applies and reapplies make-up in front of the mirror like a deranged circus performer, The Substance really dives into how we place so much value on beauty and youth – and how ultimately this obsession will destroy us. 

Fargeat, as a female screenwriter and director, expertly identifies the demands placed on women and exploits them both – oh-so subtly in one scene, sprayed with bloody gore in the next. There’s a lot of emphasis on words such as ‘were’ when used in relation to Elisabeth’s faded career and some poignant moments when we see her once worshipped Hollywood Walk Of Fame star become cracked and befouled by burger sauce. 

The use of everyday sound effects in this film is exceptional – for instance, the sound of boxes being ripped open and sounding like skin being flayed. Zips on dresses and catsuits are likened to spinal cords (Fargeat repeatedly uses imagery of Moore’s bare back), ready to unzip and unleash the monsters within ourselves. 

Words such as ‘eviscerated’ and ‘broil’ are highlighted in garish recipe books. Food is grotesque. Fattening. Gluttonous. It’s all very visceral, very physical, much like the gut-wrenching transformation both Sue and Elisabeth have to endure every seven days to keep up their Dorian Gray-esque pact.

There are also a lot of classic horror references in this movie – and let’s face it, the genre is having a moment. Fargeat pays homage to films such as The Shining, Carrie and The Thing, and it really works. Audiences (particularly horror buffs) will find themselves making comparisons throughout the movie, in the best ‘oh, I see what she’s done here’ way. Wickedly funny, gruesome (the finale is absolutely wild, you’ve been warned), The Substance is an incredibly clever movie. It’s no wonder it won best screenplay and received a 10-minute standing ovation at Cannes.

What’s incredible is how much The Substance and the character of Elisabeth   is somewhat reflective of Moore’s career and women within the movie industry as a whole. Once one of the world’s most highly paid actors for films such as Ghost and Indecent Proposal, Moore’s portrayal of a former star trying to keep up with the industry status quo in relation to staying young and beautiful (whatever the cost) is sensational casting, and it’s wonderful to see Demi Moore (and hear that husky voice) back in the limelight.

There’s also a longstanding tradition of horror films using certain themes to address contemporary societal fears. These themes can capture a collective psyche – for example, Nightmare On Elm Street could be seen as a response to sexual promiscuity in 80s teens, whereas more modern examples such as It Follows and Men deal with STDs and toxic masculinity respectively. Arguably, The Substance does the same, and then some. 

Every morning we are bombarded by various messages pressuring us to be ‘younger, more beautiful, more perfect’. Try Ozempic, sign up to this health plan, buy this serum, book this surgery – this toxic messaging being consumed by our smartphone-addled brains. All of it accelerates this unattainable quest for perfection – because, allegedly, it’s perfection that’ll bring you happiness. Instead, as in the case of this movie, that quest then becomes monstrous and all-consuming, leaving its host to take more and more risks in a bid to cheat the system. Ultimately, Elisabeth wants to cheat death itself, the ever-present destroyer of youth and beauty.

Full of smart references and wonderful casting (Moore delivers, watch this space awards season), but equally very hard to watch in parts (especially for those with a weak stomach), The Substance is setting a high bar for a new slew of slick horror films that tackle industry standards that women worship and are enslaved by. We cannot wait to see what comes next…

The Substance is released in UK cinemas from 20 September. Find showtimes and book tickets at trythesubstance.com