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The Substance 4K 2024 Ultra HD 2160p
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Сountry: UK, France
Genre: Drama
Cast: Demi Moore, Margaret Qualley, Dennis Quaid, Edward Hamilton-Clark, Gore Abrams, Oscar Lesage, Christian Erickson, Robin Greer, Tom Morton, Hugo Diego Garcia, Daniel Knight, Jonathon Carley, Jiselle Henderkott, Akil Wingate, Billy Bentley, Vincent Colombe, Lennard Ridsdale, Jordan Ford Silver
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So what is Substance? A kind of anti-aging medicine - a set of syringes and vials that can prolong the age of the “best version of yourself”. An actress with a star on the Hollywood Walk of Fame, Elizabeth Sparkle (Demi Moore) has replaced red carpets with age with a job as a fitness instructor on TV. Producer Harvey (Dennis Quaid) has a plan to put the lady in circulation and change the format of the show airing right on Ms. Sparkle's birthday.
At that moment, when the crisis and unfavorable coincidences of circumstances risk to drag Elizabeth to the bottom of depression, there is a wonderful recommendation - it remains to decide on the procedure. What does the owner of the medical kit get? A copy of herself (Margaret Quolli) - except not from a rib, but from her spine: imagine what it looks like. The rules are simple: the symbiotes feed off each other, but must switch places every week to maintain balance. But, of course, it's not easy to find harmony with someone you never became.
User Review
If you think turning a carriage into a pumpkin, or even having Cinderella herself turned into a pumpkin, is body horror, then you know nothing about body horror. If you believe that pig's blood for a “pig” named Carrie is body horror, then you again know nothing about body horror. If you believe that a decrepit portrait of Dorian Gray is body horror, then... the answer is on the surface. If you manage to mix it all together and multiply it by adding The Fly, The Thing, Freaks, Reanimator, Elephant Man and the like, and sprinkle aerobics shows on top, and twist it in a psychosis blender so that Guinea Pig seems like a funny Disney cartoon - welcome, it's ....
... “Substance”: a body horror, from the first to the last frame consisting of “body” and from the first to the last second able to grind your life into horror.
In two hours and twenty minutes (it feels like half a century), the Frenchwoman Coralie Farja expresses with all the furious rage that has boiled up over the years of patriarchy about the power of complexes caused by the objectification of male attention. It doesn't just squeeze everything it can out of the question at stake - it goes further and tears the consciousness with an unbearable extravaganza of the individual's irreconcilability with himself. Contrary to the rules of dramaturgical three-act playwrighting, her brainchild, even if it ends at a logical point, is completed with a cluster of commas, pressing them down with a hundred kilograms of weight and scraping the true monster of cinematography out of an eerie cautionary tale.
It's worth going back to the beginning to analyze such an early creative takeoff for the director. The picture was undoubtedly born from the short film “Reality+”, released ten years ago, and grabbed stylistic features from the debut “Survivor”.
In the first one, the world was taken over by a mania for illusory changes in appearance: people were implanted with a chip in their neck, with the help of which every twelve hours they changed their appearance to a more desirable one. Here the idea has built up muscles on the skeletal structure: the secret and hardly legal substance works along the same lines. The difference is that the interval of functioning is lengthened to a week, those involved in the adventure as if split, each of them must feed the “double” in the “dead” days, also charging a certain puncture, and ignoring the allotted time frame is fraught with extremely unpleasant and inevitable retribution.
In the second, the cisgender rapists' assessment of girls' availability was the trigger and strengthened the author's optics, reshaping the rape-revenge sub-genre into a provocative agitation about the irreducibility of fragile ladies and the insignificance of lecherous men. From here, in particular, the super-large plans (the mouth, loudly chewing food - a vivid example of the hideousness of the offenders), meticulous “binocular” angles and sound effects that increase the banging, creaking or crunching to the decibels of a deafening bombing.
In the current experiment, all inputs are magnified and multiplied: aging careerist Elizabeth Sparkle inhabits a microscopic environment where every detail is wider and heavier than the limits of perception. The abundance of wide-angle shots and corridors, which appear as endless arteries - whether in a richly furnished house or in the minimalist backstage areas of TV studios - is a testament to the same, albeit somewhat antonymously. It's as easy to get lost inside the smooth labyrinths, resembling the needle of a syringe, and twisted labyrinths, resembling the coil of a DNA molecule, as it is in your own head, which is clogged with eating thoughts about what others judge of you and how any wrinkle seen in the mirror mercilessly drives an extra nail into the coffin lid.
The clip montage contributes to a rapid succession of metamorphoses not only physical but also mental. The spotlight, fame and power go to the one who replaces the venerable diva who has been scrapped, but the mishap of the situation is terribly prosaic: there are no copies, because your copy is you. All this in any of its guises - and is you, about what, among other things, repeatedly warns a mysterious voice from the tube - some anonymous either creator or manager of the miracle mixture. Both uncontrolled dosage and the irrepressible desire to remain forever loved by everyone... or at least not despised, lead to irreversible consequences. Hence the great indulgence starts in a self-deprecating hell, filled with hypertrophied images, unrealistic trips, space-time distortions - all of the above are broadcast as if from the inflamed mind of the character, occasionally moving away to give a chance to document the scale of the disaster after nervous breakdowns.
The only counterpoint possible in such conditions is fixed at the stage of still correct use of the drug mixture: the euphoria of frenzied results clashes with pain and loneliness during the periods of forced change of “partner”. The anxious anticipation of chaos is juxtaposed with the raw, acidic, blinding pleasure of being in a young shell until the critical time. At the moment when the waning screen star realizes that her hatred for her ordinary, unknown, unclaimed self, which has grown into a tumor out of society's condemnation of her impudence to lose her conventional charm due to her age, is burning in her wounded heart without interference from outsiders, the story speeds past the stations of tragicomedy, drama, and tragedy on its way to the thrash festival. The concentrated madness blurs the boundaries: you might think the denouement has happened - but no, Farja will not allow such a blatant trifle. In her treatment of a broken existence, it's not enough to bring the moral out by illustrating what happens to naughty girls or the side effects of disobeying instructions. Having reached the limit, it is necessary to cross the rubicon and not even to look the devil in the eye, but to be swallowed by him, so that, having digested in the stomach, to splash out as a poisonous slurry into the sizzling light - to disappear completely, without a chance.
Therefore, as an act of protest against any degree of constitution of universally recognized standards of attractiveness, this audiovisual work exceeds the bar, maliciously mocking the very pathetics of the phenomenon in question and piling a hundred-ton weight on all the (un)probable variations of its metastases in the fate of just one unfortunate woman who could have been happy. She could have been, had she not become a product that satisfies the ever-hungry public demand for fresh faces, firm flesh, and lush forms, demanding the splitting of new, new, new versions of herself for anyone and everyone who believes that dreams are more fatal than reality.
Resolution: Native 4K (2160p)
HDR: Dolby Vision, HDR10
Aspect ratio: 2.39:1
Original aspect ratio: 2.39:1
#French: Dolby Digital 5.1 (448 kbps)
#French: Dolby Digital 2.0
#German: Dolby Digital 5.1 (448 kbps)
#German: Dolby Digital 2.0
#Spanish (Latino): Dolby Digital 5.1 (448 kbps)
#Spanish: Dolby Digital 2.0
At that moment, when the crisis and unfavorable coincidences of circumstances risk to drag Elizabeth to the bottom of depression, there is a wonderful recommendation - it remains to decide on the procedure. What does the owner of the medical kit get? A copy of herself (Margaret Quolli) - except not from a rib, but from her spine: imagine what it looks like. The rules are simple: the symbiotes feed off each other, but must switch places every week to maintain balance. But, of course, it's not easy to find harmony with someone you never became.
User Review
If you think turning a carriage into a pumpkin, or even having Cinderella herself turned into a pumpkin, is body horror, then you know nothing about body horror. If you believe that pig's blood for a “pig” named Carrie is body horror, then you again know nothing about body horror. If you believe that a decrepit portrait of Dorian Gray is body horror, then... the answer is on the surface. If you manage to mix it all together and multiply it by adding The Fly, The Thing, Freaks, Reanimator, Elephant Man and the like, and sprinkle aerobics shows on top, and twist it in a psychosis blender so that Guinea Pig seems like a funny Disney cartoon - welcome, it's ....
... “Substance”: a body horror, from the first to the last frame consisting of “body” and from the first to the last second able to grind your life into horror.
In two hours and twenty minutes (it feels like half a century), the Frenchwoman Coralie Farja expresses with all the furious rage that has boiled up over the years of patriarchy about the power of complexes caused by the objectification of male attention. It doesn't just squeeze everything it can out of the question at stake - it goes further and tears the consciousness with an unbearable extravaganza of the individual's irreconcilability with himself. Contrary to the rules of dramaturgical three-act playwrighting, her brainchild, even if it ends at a logical point, is completed with a cluster of commas, pressing them down with a hundred kilograms of weight and scraping the true monster of cinematography out of an eerie cautionary tale.
It's worth going back to the beginning to analyze such an early creative takeoff for the director. The picture was undoubtedly born from the short film “Reality+”, released ten years ago, and grabbed stylistic features from the debut “Survivor”.
In the first one, the world was taken over by a mania for illusory changes in appearance: people were implanted with a chip in their neck, with the help of which every twelve hours they changed their appearance to a more desirable one. Here the idea has built up muscles on the skeletal structure: the secret and hardly legal substance works along the same lines. The difference is that the interval of functioning is lengthened to a week, those involved in the adventure as if split, each of them must feed the “double” in the “dead” days, also charging a certain puncture, and ignoring the allotted time frame is fraught with extremely unpleasant and inevitable retribution.
In the second, the cisgender rapists' assessment of girls' availability was the trigger and strengthened the author's optics, reshaping the rape-revenge sub-genre into a provocative agitation about the irreducibility of fragile ladies and the insignificance of lecherous men. From here, in particular, the super-large plans (the mouth, loudly chewing food - a vivid example of the hideousness of the offenders), meticulous “binocular” angles and sound effects that increase the banging, creaking or crunching to the decibels of a deafening bombing.
In the current experiment, all inputs are magnified and multiplied: aging careerist Elizabeth Sparkle inhabits a microscopic environment where every detail is wider and heavier than the limits of perception. The abundance of wide-angle shots and corridors, which appear as endless arteries - whether in a richly furnished house or in the minimalist backstage areas of TV studios - is a testament to the same, albeit somewhat antonymously. It's as easy to get lost inside the smooth labyrinths, resembling the needle of a syringe, and twisted labyrinths, resembling the coil of a DNA molecule, as it is in your own head, which is clogged with eating thoughts about what others judge of you and how any wrinkle seen in the mirror mercilessly drives an extra nail into the coffin lid.
The clip montage contributes to a rapid succession of metamorphoses not only physical but also mental. The spotlight, fame and power go to the one who replaces the venerable diva who has been scrapped, but the mishap of the situation is terribly prosaic: there are no copies, because your copy is you. All this in any of its guises - and is you, about what, among other things, repeatedly warns a mysterious voice from the tube - some anonymous either creator or manager of the miracle mixture. Both uncontrolled dosage and the irrepressible desire to remain forever loved by everyone... or at least not despised, lead to irreversible consequences. Hence the great indulgence starts in a self-deprecating hell, filled with hypertrophied images, unrealistic trips, space-time distortions - all of the above are broadcast as if from the inflamed mind of the character, occasionally moving away to give a chance to document the scale of the disaster after nervous breakdowns.
The only counterpoint possible in such conditions is fixed at the stage of still correct use of the drug mixture: the euphoria of frenzied results clashes with pain and loneliness during the periods of forced change of “partner”. The anxious anticipation of chaos is juxtaposed with the raw, acidic, blinding pleasure of being in a young shell until the critical time. At the moment when the waning screen star realizes that her hatred for her ordinary, unknown, unclaimed self, which has grown into a tumor out of society's condemnation of her impudence to lose her conventional charm due to her age, is burning in her wounded heart without interference from outsiders, the story speeds past the stations of tragicomedy, drama, and tragedy on its way to the thrash festival. The concentrated madness blurs the boundaries: you might think the denouement has happened - but no, Farja will not allow such a blatant trifle. In her treatment of a broken existence, it's not enough to bring the moral out by illustrating what happens to naughty girls or the side effects of disobeying instructions. Having reached the limit, it is necessary to cross the rubicon and not even to look the devil in the eye, but to be swallowed by him, so that, having digested in the stomach, to splash out as a poisonous slurry into the sizzling light - to disappear completely, without a chance.
Therefore, as an act of protest against any degree of constitution of universally recognized standards of attractiveness, this audiovisual work exceeds the bar, maliciously mocking the very pathetics of the phenomenon in question and piling a hundred-ton weight on all the (un)probable variations of its metastases in the fate of just one unfortunate woman who could have been happy. She could have been, had she not become a product that satisfies the ever-hungry public demand for fresh faces, firm flesh, and lush forms, demanding the splitting of new, new, new versions of herself for anyone and everyone who believes that dreams are more fatal than reality.
Info Video
Codec: HEVC / H.265 (47.5 Mb/s)Resolution: Native 4K (2160p)
HDR: Dolby Vision, HDR10
Aspect ratio: 2.39:1
Original aspect ratio: 2.39:1
Info Audio
#English: DTS-HD Master Audio 5.1 (48kHz, 24-bit)#French: Dolby Digital 5.1 (448 kbps)
#French: Dolby Digital 2.0
#German: Dolby Digital 5.1 (448 kbps)
#German: Dolby Digital 2.0
#Spanish (Latino): Dolby Digital 5.1 (448 kbps)
#Spanish: Dolby Digital 2.0
Info Subtitles
English SDH, Arabic, Danish, Dutch, French, German, Italian, Chinese (Simplified), Chinese (Traditional), Norwegian, Portuguese (Brazilian), Portuguese (Iberian), Spanish (Latin American), Swedish, Turkish.File size: 52.92 GB
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Watch trailer of the movie The Substance 4K 2024 Ultra HD 2160p
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