Only two months are left in 2024, and this year’s selection of higher-budget films has been relatively rough. Despite the financial success of films like “Inside Out 2,” “Deadpool & Wolverine” and “Dune: Part Two,” other high-budget projects have become box office bombs and critically panned, such as Matthew Vaughn’s “Argylle” and Eli Roth’s “Borderlands” adaptation.
However, the year’s slate of mediocre blockbusters has led to independent features, like Coralie Fargeat’s “The Substance,” dominating 2024’s cultural atmosphere. Coupled with its intense social media following and well-crafted nature, Fargeat’s second feature is quickly becoming a dark horse in the upcoming Oscars race.
Following its premiere in competition at the 77th Cannes Film Festival, “The Substance” earned praise and an initial 100% Rotten Tomatoes critics score from festival attendees for its body horror visuals, electrifying final act and stellar leading actress performance from Demi Moore. Critics were incredibly passionate about the latter, tossing Moore onto their early Best Actress shortlists and even considering her a possible shoo-in for one of the five coveted spots.
Once “The Substance” made its theatrical release Sept. 20, these sentiments reigned true. Viewers witnessed a powerhouse performance from Moore displaying Elizabeth Sparkles’ mental deterioration as her molecular offspring, Sue (Qualley), lives the life she deserves. The film continued to receive immense acclaim from pundits and audiences for its blend of satirical comedy and horrific elements through the character’s personalities and practical effects. The film’s visual aesthetic, hypnotizing score and fashionable wardrobe were also equally impressive.
These elements led to the film growing in presence like Luca Guadagnino’s “Challengers” at the start of the year. The film hasn’t reached the cultural influence as the Zendaya-led feature since it has only been a month since its release; however, its growing popularity and social media presence are destined to influence the upcoming award season.
Mubi, the North American distributor for “The Substance,” is sure to latch onto the film’s charismatic following when campaigning for major awards. The film has already been submitted as a comedy/musical at the 82nd Golden Globes, even though the categorization doesn’t fully embrace the genre-blend or horror components of the film.
The film is competing with a few Oscars-buzzing juggernauts — “Emilia Pérez” (France’s submission for Best International Feature Film), “Anora,” “Wicked” and the Amy Adams-led and fellow horror film “Nightbitch.” However, the lack of exciting and passionate options in the comedy/musical category increases its chances of securing a nomination and even a win.
The choice to campaign “The Substance” as a comedy rather than a drama in this first round of film award submissions is also incredibly smart. When competing in a less-stacked field, like this year’s comedy/musical Golden Globes category, it is easy for a polarizing yet captivating film to sneak in with a nomination and increase its recognition with future Oscar voters.
For a film like “The Substance,” which is unapologetic about its roots in the body horror genre, it must secure any nomination it can. The Academy of Motion Picture Arts and Sciences is notorious for its continued lack of adoration for the horror genre.
It is rare for films like Jordan Peele’s “Get Out” (2017) and “The Silence of the Lambs” (1991), two Oscar-winning films, to even secure a nomination. Often, fans are the only ones advocating for nominations from the horror genre. Toni Collette did not get nominated for her commanding role in Ari Aster’s “Hereditary” (2017) despite numerous Critics Society nominations, nor did Mia Goth snag a nomination for “Pearl,” arguably the biggest horror film of 2022. Even films like “Nope,” the 2022 science fiction feature from Peele, couldn’t shake off its horror roots and earn any Oscar contention outside of being shortlisted for two technical categories.
Still, the road to “The Substance” appearing at the Oscars proves to be difficult. However, its Best Screenplay Award from Cannes — which has produced future Oscar nominees in recent years — and continued passion for the film online marks a hopeful presence for the film this awards season.
Trey Barrett is a graduate student studying film at Ohio University. Please note that the views and opinions of the columnists do not reflect those of The Post. Want to talk more about it? Let Trey know by emailing him at tb222023@ohio.edu.
