How Coralie Fargeat Defied Hollywood to Create a Groundbreaking Horror Film

When the Oscar nominations were announced, Coralie Fargeat, director of “The Substance,” was in her cozy Parisian apartment in the 20th arrondissement’s bohemian district, eagerly awaiting the list of this year’s contenders. As it turned out to be midday in France, she heard her name read among the best director nominees (she being the only woman in that category), and a thrilled Fargeat jumped up before settling back onto her vintage red couch. Moments later, she was overjoyed to see “The Substance” become the first body-horror film ever nominated for best picture. In total, it earned five nominations, an extraordinary achievement for any independent movie, especially one that traditionally doesn’t receive much support from Oscar voters in its genre.

Speaking with confidence, Fargeat (age 48) declares that when she creates a movie, her ultimate goal is for it to be screened at Cannes and to compete at the Oscars. She firmly believes that this is her dream, and she has faith in achieving the seemingly impossible.

A year ago, Fargeat hadn’t envisioned preparing an Oscar acceptance speech. Instead, she was fretting over whether “The Substance,” her gruesome critique of Hollywood sexism and ageism starring Demi Moore as a former actress-turned-fitness guru, would ever reach audiences. Universal, the studio that had funded the $15 million film for distribution, deemed the 140-minute version Fargeat presented unsuitable for theater release. This is when matters became particularly intricate.

Coralie Fargeat had been gaining recognition with her film “Revenge” receiving positive reviews from critics and fans of the genre in 2017. Working Title, the production company behind it, had even granted her final cut for her next project, “The Substance.” She believed that her movie, produced in France over a six-month period, was almost complete. However, she didn’t wish to make any changes to the scenes.

On the day of the Oscar nomination announcements, I had a meeting with Fargeat at her apartment. Over the months leading up to the release of “The Substance,” which was distributed independently by Mubi and grossed $79.1 million globally, she had mostly kept quiet about the film’s challenging production process. However, in an interview with Le Point magazine, she did reveal that three unnamed Universal executives had requested extensive reshoots. In her words, she suggested that one of these men was particularly bothered by the movie, stating, “I believe the film must have struck a nerve with this gentleman.”

In her apartment on Oscar nomination day, I met Fargeat. Prior to the worldwide release of “The Substance” by Mubi, she had shared little about the difficulties in releasing the movie. In an interview with Le Point, she mentioned that three unidentified Universal executives – two men and one woman – had demanded reshoots. She implied that one of these men was particularly affected by the film when she said, “I think the film must have stirred something within this gentleman.

Today, Fargeat refrains from blaming Universal. She also doesn’t harbor any resentment towards the studio that didn’t align with her passion project. “I can’t delve into it much,” she says. “I believe it was essentially a matter of us not being a suitable fit for their plans. They seemed to feel, in a straightforward way, that the disparity was too vast for them, given their film sales strategy.

According to sources close to the production, Universal acknowledged and supported Julien Maury and Alexandre Bustillo’s (Fargeat) creative vision for the film “The Substance,” as demonstrated by their substantial financial investment. The studio went so far as to hand over promotional materials they had prepared for the movie to its subsequent owner, Mubi. However, Fargeat’s firm stance on having complete artistic control ultimately led to a scenario where Universal was willing to incur a minor loss.

Despite effortlessly claiming victory following her nomination as the ninth woman ever up for Best Director at the Oscars, joining the ranks of Jane Campion, Kathryn Bigelow, and Chloé Zhao, Fargeat chose a different path. Instead, she admitted, “It was tough. Beneath the surface, there was disappointment. Bitterness lingered. It hurt. It was challenging.

In the springtime, a representative from Universal Entertainment proposed that “The Substance” might be forwarded to their smaller, high-profile distribution partner, Focus Features. This company is usually beneficial for keeping Universal in the Academy Awards dialogue, but they were already too busy with their existing projects to accommodate Fargeat’s film.

As a movie reviewer, I’d put it this way: “Admittedly, I’ve witnessed and can imagine scenarios that are more harrowing. Yet, amidst the challenges, I found myself surrounded by compassionate individuals who may not have shared my enthusiasm for the project, but their intentions were never malicious.

Presently, there are contrasting accounts regarding the situation involving “The Substance” under Universal’s control – a company renowned for its skillful collaboration with bold filmmakers, such as assisting Christopher Nolan’s “Oppenheimer” in securing seven Oscars last March. According to some sources within the industry, Universal chose not to proceed with the film after viewing it. On the other hand, several parties claim that director Fargeat was inflexible when it came to studio suggestions, leading to a disagreement. Neither Universal nor Working Title have issued any comments regarding this dispute.

According to Fargeat, “The Substance” was so revolutionary that she believed she had set the monster free from the last scene of the movie for Universal. She explains, “You take on this work because you want to be admired, but eventually, the film you truly wanted to create doesn’t match the preferences of someone who thinks with a studio mindset.

Following her meeting with Universal in Los Angeles, Fargeat took the initiative by submitting her version of “The Substance” to the Cannes Film Festival. She was aware that if “The Substance” made it into Cannes, she could go straight to a more prestigious audience and potentially attract another distributor. However, at 11 p.m. on April 10, with only 12 hours left before the official selection announcement, the director was losing hope. “I thought, ‘It’s done.’ I was texting a friend, ‘I still haven’t heard anything. Now I think it’s over,'” she recalls. “Just as I was sending that text, Thierry Frémaux called to inform me that the movie had been accepted into the official competition.

Upon arriving at Cannes,” she exclaims, “I let out such a loud shout that it likely woke everyone on my floor. I sensed a profound transformation was imminent because I was about to birth my film in the sanctum of cinema, an environment beyond any dream I could have conjured.

For years, Fargeat harbored the dream of showcasing her movie at Cannes Film Festival, ever since she attended its 2001 premiere of David Lynch’s “Mulholland Drive.” On a shelf in her living room, her DVD copy of that film sits close by, along with John Carpenter’s “The Thing.

Choosing “The Substance” over a Midnight Screening, traditionally for genre films, was an audacious decision by Fremaux, the festival’s respected director. He confessed that he “shocked the selection committee” with this choice. From the outset, he believed the film would soar high because he found it captivating. He loved its courage, describing it as a “remarkable oddity” and “exceptionally original and unsettling.

Following its selection for the Cannes Film Festival, “The Substance” was acquired by Mubi, under the guidance of Efe Cakarel, for distribution across various regions. Cakarel’s strong conviction in Fargeat’s film led him to make it Mubi’s first U.S. theatrical release. Reports suggest that A24 initially considered the project but ultimately declined, while Neon and its persistent founder, Tom Quinn, came close to securing it, but were edged out by Mubi in the end. (Three other sources claim that Neon went head-to-head with Mubi until the final moments, but did not secure the rights.)

Despite a rocky collaboration with Universal, Fargeat’s project found strong support from its lead actress, Moore, who was a firm advocate for the director’s bold creative vision. Just moments after receiving her Oscar nomination for “The Substance,” Moore expressed her confidence in the film’s longevity, stating, “I always felt this movie wouldn’t disappear.” Similar to Fargeat, Moore was willing to risk everything on the success of the film. “This movie challenges so many conventions,” she said. “And as I’ve mentioned before, it could have easily been a complete flop.

Director Fargeat admires Moore’s bold portrayal, influenced by her early retirement from Hollywood after being a major star of the 1990s. “Demi felt drawn to this script as she was at a stage in her life where she was seeking self-emancipation from an imprisoning ‘image’,” Fargeat explains. “One must break free from such constraints if one doesn’t want all their worth to be in the eyes of others. At that point, Demi was ready to take such risks.

As a devoted cinephile, I pour my heart and soul into every story I bring to life. “The Substance” was no exception – it held a deeply personal significance for me. In fact, I wrote the script during lean times, yet I refused to let go of its creative reigns from start to finish.

I passed up tempting deals and, surprisingly, even curtailed initial discussions with Marvel, who had expressed interest in having me direct “Black Widow” in 2021 (as a reliable source confirms). Instead, I chose to remain steadfastly committed to this project, focusing all my creative energy on its completion.

During the production and post-production of my film, I clung firmly to my vision as people urged me to tone down the violence, gore, and explicit content. I felt that I had penned this movie to match or even surpass what it condemns within the film itself.” Fargeat further comments, “Our society remains alarmingly violent towards women, confining us within restrictive roles which can lead to self-inflicted violence.

Indeed, Fargeat personally appears in a rather unsettling scene – it’s when Moore’s character initially administers the serum she thinks will rejuvenate and boost her employability. “When you watch the needle piercing Elisabeth’s arm to deliver the substance,” she explains, “it’s my own arm that you see.

In “The Substance”, there are several instances where viewers might feel compelled to avert their eyes. However, for director Fargeat, these very moments serve as his intended focus.

She asserts, “This violence isn’t subtle or minor; it’s harsh, unkind, and without a smile. Instead, it’s overwhelming. To remain faithful to the tale I wanted to convey, the movie needed to portray it vividly, make viewers experience it, and most importantly, not hold back in any way when it comes to intensity.

Even though there were problems with Universal, Fargeat is content with her decision to stay firm. She’s thankful to Working Title co-chairman Eric Fellner for backing the movie.

Or:

In spite of difficulties with Universal, Fargeat has no regrets about standing her ground. She’s appreciative towards Working Title co-chairman Eric Fellner for supporting the film.

The project was challenging to fund and required more than a year’s time. We faced the obstacle of COVID-19, which made investors hesitant. Despite meeting numerous potential partners, the project was risky due to its nature. It isn’t like the ‘Scream’ series that aims to scare; instead, it belongs to a genre but is multi-layered with a powerful message and reflects the director’s perspective. With this explanation, she flashes a self-assured smile.

Matt Donnelly contributed to this story.

2025-01-29 20:48

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