Demi Moore in Coralie Fargeat’s horror film The Substance

Many labels are so sticky that they quickly appear on the Leinwand display: “Feminist Body Horror” – was that so? How can it be that the goal is a goal to make a simple description? Is there no more film, who in the Krimis, before you have started?

Coralie Fargeat, 48 years old, born in Paris, two long films, two Kurz films, one TV series, which she deserves. Not for the first film „Revenge“ (2017), in the case of a young woman who was happy, happy, who was happy with the experience of drinking and enjoying the experience.

And if you don’t see “The Substance” anymore, the year in the Cannes Wettbewerb is dear, the price of the prize is increased and it will probably not be that the man with the label tiers can use a kind of goods in the supermarket. If there is a woman, who does not want so much, anyway, and gets the shine, there is a young woman who can buy a version in her self.

And so little that a deal is a fact, in the Bildungsburger woman who sees the Trashvariante a Faustian Pact that is no longer stiff as that, one of the social media-optimal solutions for young women was a zwanzige as clean air.

It is a great challenge, with Demi Moore playing the lead in ‘The Substance’ and Margaret Qualley, the daughter of Andie MacDowell, in her Alter Ego. No one who had imagined himself and his white beauty surgeons, was Demi Moore everything he had advised and machine welding – because one night long, because the principle of freedom of choice also with beauty surgeons gilded. The director and the author Coralie Fargeat were not busy that long during the day, she versügt the aesthetic Mittel, over the visual ideas, an extreme variant of self-stop optimization in the empty Grauenden zu lassen.

Schon der Vorspann des Film is a great closedness. A fried egg comes with an injection, it is a doubling, but an egg. A star goes to the Walk of Fame on Hollywood Boulevard for a certain Elisabeth Sparkle. Lotrecht schauen with the fact that it is arranged, concreted and a little different, who has to wait eight times long, who warns and the years continue. A Vanitas motif in Hollywood is increasingly viewed in the end of the films.

Elisabeth Sparkle with the sparkling Names that do her best to show that she has become one of the first life forms, nor if she has her gelatin, slim and biegsam. Only the Quote does not make more sense. If the production is shorter, then there is talk of an upgraded man who may well produce more results. Dennis Quaid notes that the Spaß plays a role that is broader than the film, while he brings the film on Touren.

The stream of senders in the color Rot-Orange, with extreme photography in the store, became a Corridor of the Schreckens. Now the brutal close-ups of Coralie Fargeat are one of the most famous of them: one of the most exciting, shrimps coming out of the bag, abgessene Teller, which a slaughter landscape gleichen. Higher results in the shower-welding and a damless black think, jederzeit heruntersausen kann. It is a bit effective and effective. No impression of realism, no documentary element. The world of film is a bit surrealistic from the beginning, a bit hyperreal.

The fate carries the feuerte Elisabeth and an obscure place: outside the ghetto, inside an aseptic whiter storage room. It is a simple package that is wrapped with three spritzes and a few snap announcements: the substance, that of Kummer and Selbsthass are erlösen soll. After the injection it is possible to go into the bath, and look into his back, the man can say nothing else, but another woman is bothered by it.

It is not the tall Riss that you encounter: with thicker Nadel, in his flesh-fed, parallel to Wirbelsäule. Let yourself see Sue sein for a week – and more than again for a Week Elisabeth become. There is no mention of a warning: If we are defeated against the principle, we must follow.

Coralie Fargeat weiß, what the genre desires: Was so anfängt, muss schiefgehen. The naive Sue comes with Job, the Elisabeth hates: neither an idiotic Leibesertüchtigungsshow, at the Camera the sexist Look can perhaps penetrate penetratingly: Brust, Schenkel, Po, ever so nah, who is now geht. Verführt von der Aussicht auf Ruhm and Spaß, with Sue is a bald leader, if he even more zurückverwandeln to müssen.

Elisabeth focused on her Beverly-Hills-Luxus-Heim on a tall poster wall, on her Alter Ego with a big smile. You see it yourself in a mirror too – and don’t recognize it. If you have a phone number, which you did with the package, Sue says that a man gives an impulse to the truth and the false satz: ‘You are one.’

If you go into the world, the war will leave the Selbsthass. The existence of the alternative egos is no longer possible. If you want to broaden with a guilt friend, it will be great – and the ferns of the Verabredung, we will do it differently too. Dass Elisabeth is not attractive and for her duration on an incomprehensible earth, but she is no more.

Die Strafe für Sues Verstöße is in Mutationen. After dem switchder Verwandlung in de jewelen alles Halve, gibt es einen hitchA few fehler: Krallenfinger, who has a pair of sore or arthritic knees. Now start optimizing the variance you have with a fiese Nebenbuhlerin. If you have a complizierte recipe from a kochbuch-nachkocht, which is about your Huhn, as where Sue is. Sie verschmiert, verschmutzt, verwüstet, zerstört, agiert themselves aus – en tamelt allmählich in de Wahn.

If Elisabeth will re-invent the Abruption of the Program, the Rivalry will explode. The film is included in that series and an enormous brutality. An appeal is made to the Self-defeat as a gnadenlose, bloody Niedermachen a person for, nor a physical self-image is bleibt. It is fueled, directed, to the birth of a Monster. And Coralie Fargeat has used the largest part of the artblut, because he is concerned with the excessive artblut, that man is one of the artblut offered by the world.

“The Substance” has brought an unbound energy with a Malizian, broken vision to an end. It’s great, great, with a B-Movie feel, but guess what, Coralie Fargeat jokes so little about Realism, trifft ihr Film because in the Herz der Gegenwart. Ohne Plädoyer for etwas, for a best direction or best stop.

It’s a fact. And read more about this feeling: “I am one other person” is clearer than ever – and then dialectically entgegenzuhalten: “You are one.” And the Satz bedeutet in diesem Context yes for all: Man is not himself, equal, well-born man hat, who is another man, who is a man, he is fuchsia or anyway substanz auch immer man gerade nimmt.