Demi Moore gives a must-see performance as Elisabeth Sparkle, a former A-lister turned fitness show host. Deemed past her prime by studio head Harvey (Dennis Quaid) and unceremoniously fired, Elisabeth finds herself presented with an opportunity: a mysterious new drug called THE SUBSTANCE. One injection and she is  reborn (or more accurately, torn asunder), a transmutation that gives rise to a younger, “perfect” version of herself. The only condition: Elisabeth and her flawless counterpart “Sue” (Margaret Qualley) must share their time equally–one week for the old body and one week for the new.

The world-building here is reminiscent of an episode of Black Mirror. Thrown into a parallel universe, you accept certain (outrageous) things to be true, and ground rules are established that allow the consequences of any transgressions to unfold in ways both shocking and inevitable.

The casting of Demi Moore–whose career began in the late 80s and soared into the 90s when she became the highest paid actress in Hollywood–adds a level of gravitas to a project centered on toxic perceptions of aging, especially with regard to women in the entertainment industry. Many scenes require little more than her presence to evoke a sense of instant recognition and shared cultural memory that makes it all the more disturbing when Elisabeth scrutinizes her own body, failing to see all the ways in which she remains impossibly beautiful in any other context.

The film clearly references horror classics like The Fly (1986), Carrie (1976), and John Carpenter’s The Thing (1982). The cinematography, editing, and score are all noteworthy, yet Pierre Olivier Persin’s makeup and prosthetics work is exceptional. We always love to see the use of practical effects, which accounts for the majority of what appears here. That said, while the film may look and sound great, The Substance is not for everyone.

Don’t forget the genre within which Fargeat is working. Body horror is excessive by definition. Satire similarly works within the realm of exaggeration. That the film veers toward the extreme is part of it. There are moments when the messaging about beauty standards is so explicit as to feel repetitive. Similarly, it can feel dissatisfying to spend so long in this world without delving further into the nuance of what all is at stake and who all is to blame for the monstrosities that are created.

Nevertheless, there’s more than enough to make The Substance worth watching and worth admiring.

There’s something to be said for a director who, embarking on her second feature film, is willing to be so bold in her creative choices. Especially in a year where many projects by more established helmers (with much larger budgets) played it disappointingly safe.

The original idea behind this Recommended Viewings series with MUBI was for us to talk about films with an interesting and unique approach, from the use of technique to the freshness of the voices and perspectives on offer. The Substance certainly deserves our attention in that regard. It’s rare to see a work so committed to its own vision. From the opening scene to its closing, Fargeat plays with what is usual or expected, taking on a genre generally associated with the male gaze and forcing it to look upon the absurdity of itself–an industry that chews you up and spits you out, yet leaves you weirdly grateful for the opportunity.

The Substance is now streaming on MUBI. Watch this and hundreds of other hand-picked films with 30 days free at mubi.com/booooooom.