The Substance: 10 Easter Eggs & Horror Movie References Explained

The following contains spoilers for The Substance, now playing in theaters.

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The Substance is a cinematic treasure trove, packed with decidedly unsubtle references and Easter eggs that pay homage to classic horror movies. From iconic visuals and thematic parallels to subtle nods to legendary filmmakers, this film from director Coralie Fargeat offers a rewarding experience for horror enthusiasts.

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A Rotten Tomatoes record-breaking role for Demi Moore, The Substance follows the course taken by other movies in regards to its pop culture references. Like the Easter eggs provided by Abigail, The Substance is a horror movie that’s quick to acknowledge other notable films in the genre responsible for what it is today. This highlights the importance of homage, especially when done in a tongue-in-cheek, entertaining way.

10 Elisabeth Sparkle’s Climactic Transformation Mirrors Nina Sayers

Black Swan (2010)

The creation of the “Monstroelisasue” is the climax of The Substance’s ending. The horror just keeps unfolding and just when the viewer thinks it has peaked, fresh abominations are unleashed on the screen. The climactic final performance of the New Year’s Eve show shares some visual elements with Aronofsky’s ballet body horror Black Swan. When Monstro is dying, there are several cross-faded shots of her face and the faces of fans calling her beautiful and telling her they love her. This subverts the monstrosity aspect to connote a kind of ascension to her ideal of being adored.

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This similarity persists as Elisabeth gazes smiling at the night sky from her star on the Hollywood Walk of Fame before her death. The ethereal light of the glitter and her expression are similar to the final shots of Black Swan when Nina is gazing at the light above her, triumphantly murmuring, “I was perfect.” There are also other references to Black Swan earlier in the movie, such as the face-off between Elisabeth and Sue, who look different in The Substance. In the fight scene, Sue smashes Elisabeth’s face against the mirror, reminiscent of when Nina symbolically stabs her doppelgänger with a shard of mirror.

9 The Vibrant Corridor At The Studio Is Very Kubrick-inspired

The Shining (1980)

The carpet of the Overlook Hotel in The Shining is surely the most imitated, iconic piece of flooring in film, and The Substance makes a clear nod to it. In The Shining, the carpet’s bold pattern and vivid colors create a sense of unease and foreboding. This perfectly aligns with the film’s unsettling atmosphere. The graphic design complements Kubrick’s signature symmetrical framing, emphasizing the corridor’s length and adding a dramatic sense of perspective.

In The Substance, a similar carpet is used, although the geometric shapes used are rectangles rather than hexagons. Cleverly, the rectangles are split down the middle, a reminder of the duality in the movie and the egg yolk split in two at the beginning. The colors, however, are almost identical, with the orange emphasized on the walls. The strip lighting and the solid wall at the end of the long corridor also evoke a sense of unease, creating a liminal space. The corridor is later soaked in the bloodbath, clearly referencing the “redrum” scene in The Shining.

8 The Lips Closeup Is A Throwback To Cronenberg’s Classic

Videodrome (1983)

The Substance uses a striking image of Sue that is undoubtedly a reference to what is often regarded as Cronenberg’s definitive work, Videodrome. When Sue is asked to state her name to the camera when she is inevitably being cast as Elisabeth’s replacement, she says, “I’m Sue,” at which point there is a closeup of her lips repeatedly introducing herself. The image of her lips is repeated across multiple analogue television screens. This, and the tethering of Elisabeth / Sue’s identity to her television career, are a brilliant reference to the images and themes of Videodrome.

…Human advancement [in Videodrome] makes self-destruction necessary.

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The image of the lips references Nikki, played by Debbie Harry, in the body horror classic. In an unnerving scene, Nikki’s lips on a screen coax and beckon Max to kiss her while the vascular TV set breathes heavily. This is all part of the theme of the seduction of technology and media in the movie. The realm of Videodrome leaves the audience questioning whether the “new flesh” is desirable as human advancement makes self-destruction necessary. This ties in perfectly with the self-mutilation that unfolds in The Substance and is a masterful homage to its body horror predecessors.

7 The Monster Is Society At The End, Evoking A Lynch Biopic

The Elephant Man (1980)

Elisabeth’s final form, the Monstroelisasue, clearly evokes the iconic cinematic image of John Merrick in The Elephant Man. According to Letterboxd, The Substance director Coralie Fargeat has listed David Lynch as a major influence. The depiction of Merrick in the Victorian-set true story of his disfiguring condition is tragic – however, Lynch also holds a mirror up to society in the movie. By depicting how Merrick is exploited, by the circus first and then the upper classes of London, makes the audience self-aware of their own voyeurism in viewing the film.

The Monstro regarding herself in the mirror in the final act of The Substance are a reminder of The Elephant Man. Her desperation in these scenes is also a reminder of the theme of acceptance. Whereas earlier in the movie, Elisabeth felt too unworthy to go out, the irreversibly disfigured version of herself is determined to be seen. There are pointed shots of the roses with the accompanying note, “they’re going to LOVE you!” The judicious use of the word “love” bookends the movie, showing her need for validation. In The Elephant Man, love and acceptance are what Merrick craves.

6 The Other Self In The Substance Is A Backburster

Alien: Covenant (2017)

The Substance and Alien Covenant share a thematic thread of bodily autonomy, fertility, and creation, culminating in the emergence of a parasitic life form. The birth of the Other Self from the spine in The Substance echoes the backburster’s emergence in Alien Covenant. Both films explore the concept of a parasite taking over a host body, disrupting human nature and prioritizing the sustenance of a ruthless, superior being. The similarities between these two films suggest a potential covert reference, hinting at a shared exploration of these profound themes.

It could also be a broader reference to the body horror aspect of the Alien franchise. Alien subverts the traditional image of birth by presenting it as a horrifying and invasive process. The film depicts the birth of the Xenomorph as a violent and grotesque event. The creature bursts out of the host’s chest, tearing through their flesh. Similarly, the birth of the Other Self in The Substance is a traumatic birth subversion with a fully-formed new self emerging from the host’s spine. Much like a parasite, Sue drains the life from or “eats away” at Elisabeth throughout.

5 The Very Literal Fly Reference At The Restaurant

The Fly (1986)

Many viewers will recognize the not-so-subtle reference to Cronenberg’s classic body horror The Fly in The Substance. If not too distracted by Harvey’s marvelously grotesque shrimp eating, there is a shot of a fly on his neck before the conversation at the restaurant with Elisabeth in which he fires her. At the end of the scene, the fly is seen drowning in his discarded glass of wine.

Cronenberg’s The Fly explores the consequences of scientific hubris and the terrifying potential of biotechnology. The film delves into themes of identity and transformation. As the protagonist, Seth Brundle, becomes increasingly merged with the teleportation device he’s invented, his physical and psychological state deteriorates. The film serves as a cautionary tale about the dangers of unchecked scientific progress, highlighting the potential for technology to become a destructive force if not wielded with responsibility and ethics. A similar hubris is explored in The Substance with Sue repeatedly overstaying her welcome against the instructions of The Substance‘s serum.

4 The Bloodbath Scene Evokes Another Feminist Classic

Carrie (1976)

The Substance‘s final act, where Monstroelisasue sprays blood all around the theater, shares striking similarities with Carrie. Both movies depict female protagonists driven to extremes as a result of societal oppression. Carrie offers a critique of societal expectations. Carrie’s experiences of bullying, isolation, and religious repression highlight the challenges faced by young women in a patriarchal society. The prom scene, when Carrie is covered in pig blood, can be seen as a commentary on the dangers of suppressing female anger and the potential consequences of societal mistreatment as she unleashes her powers, contrasting effectively with the celebratory prom scene.

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The cast of The Substance brings a strong sense of character to the body horror/Hollywood satire and fits easily into the film’s tight narrative.

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Monstroelisasue’s actions can be seen as a powerful expression of rage and despair about the societal expectations imposed upon her. The blood symbolizes her pain, her rebellion, and her ultimate liberation from a world that has consistently marginalized her. This shared theme suggests that both films are sending a powerful message about the destructive consequences of misogyny in a way that is very on-the-nose and entertaining. It is incredibly satisfying that being continually dismissed and rejected due to her age ultimately results in the liberation of being truly grotesque.

3 The Hitchcock Reference In The Earrings Scene Is A Hilarious Nod

Vertigo (1958)

Monstroelisasue prepares for the New Year’s Eve show by forcing the blue dress back on and adorning herself for the event. The scene uses the score from Hitchcock’s Vertigo, a deliberate choice that draws parallels between Monstroelisasue and Judy in the classic film. Like Judy, who tries to transform herself into the idealized and unattainable image of Madeleine, Monstroelisasue is attempting to conform to societal expectations and the illusion of perfection. The mirror becomes a reflection of her internal turmoil and the lengths she will go to fit in, mirroring Judy’s own struggle.

The Substance executes this movie reference with its well-established satirical aplomb. In the context of the scene, Monstro’s attempts to make herself look normal, let alone ideal, have a hilarious effect as she cannot find ear holes for her earrings and simply sticks them into her flesh. The humor of the scene is underscored by the repeated line from a casting agent for Pump It Up earlier in the film, who remarks on everything about Sue’s physical appearance being in the “right place”.

2 Elisabeth Is The Dorian Gray Portrait Of The Substance

Dorian Gray (2009)

The Substance shares thematic similarities with Oscar Wilde’s The Picture of Dorian Gray, exploring the consequences of unchecked hedonism and the corrupting influence of desire. In both works, the protagonist’s pursuit of pleasure and self-gratification leads to a moral decline, ultimately manifested in a physical transformation. In The Substance, Elisabeth’s obsession with beauty and acceptance culminates in a monstrous physical change, mirroring Dorian Gray’s corrupting portrait. Both stories serve as cautionary tales about the dangers of unchecked indulgence and the importance of maintaining moral integrity.

Dorian Gray‘s 2009 adaptation starring Ben Barnes in particular features a memorable indulgence montage that includes a slow-motion closeup of him biting into a scone. A similarly decadent and repulsive scene plays out with the excessive consumption of shrimp by Dennis Quaid’s character, Harvey, in The Substance. These are visual representations of the male characters’ unchecked hedonism. In the context of male privilege, the men of the stories have the power to use and discard. More overtly, the dynamic of the effects of the serum means that like Dorian Gray’s portrait, Elisabeth bears the consequences of Sue’s youthful selfishness.

1 Harvey Makes A Reference To Another Female Horror Icon

King Kong (1976)

One of the funniest references that speaks to the male dismissiveness and ignorance in the movie is a verbal reference to King Kong. When the women’s bathroom is closed, Elisabeth uses the men’s stalls and overhears Harvey discussing his plans to ax her career on the phone with a colleague, cruelly referring to her as an “old bitch” and expressing his disbelief that her Jane Fonda style exercise show is still going. He refers to how long ago her big break was, asking, “And what was that, King Kong?”

This is a sly nod to the theme of ageism in the movie. He is, of course, referring to Jessica Lange’s iconic scream queen role in King Kong. Lange has spoken out about ageism in the entertainment industry – in an interview with AARP, she said, “Ageism is pervasive […] It’s not a level playing field.” Her most impressive performances have been in recent years, which makes a mockery of Harvey’s dismissiveness. Her performance as a young actress was highly criticized along with the film as a whole, making it additionally a clever reference to one of the most maligned monster movies in history. The Substance revels in its own ridiculousness and excess.

Source: AARP, Letterboxd

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Director Coralie Fargeat Cast Demi Moore , Margaret Qualley , Dennis Quaid , Gore Abrams , Hugo Diego Garcia , Olivier Raynal , Tiffany Hofstetter , Tom Morton , Jiselle Burkhalter , Axel Baille , Oscar Lesage , Matthew Géczy , Philip Schurer Character(s) Elisabeth Sparkle , Sue , Harvey , Oliver , Diego , Alan , The Stylist , The Doctor , Girl , The Photographer , Troy , Bob Haswell , Mr. Scream Main Genre Horror

Source: https://www.phonggdkrongpac.edu.vn
Category: Entertainment