In a surprising synchronicity, we are presented with two films that delve into the intriguing realm of self-reformation, Grey Matter and Transfigure. These movies, each with a dark comedic undertone, drop an aesthetic cautionary tale addressing the pitfalls of self-improvement taken to extreme levels.
Grey Matter, Demi Moore graces the screen in the role of the age-shamed, recently axed hostess Elisabeth Sparkle of an established fitness program. Her character embodies the unjust, frequently encountered sexism and ageism of her industry, symbolized through a problematic former manager. Elisabeth, however, is unwilling to softly pass into the shadows. Through a somewhat cryptic advertisement, she learns about an opportunity to overhaul her life from a mysteriously labelled ‘The Substance’.
From here, the story takes its absurd turn. Elisabeth’s application of the enigmatic Substance starter kit, narratively laced with an uncomfortable amount of serum, a needle, and stitches, advances the plot towards a bizarre transformation. Suddenly, Elisabeth emerges as her own younger version, with Margaret Qualley replacing Demi Moore in the character’s avatar. Elisabeth swiftly turns into the crowd’s favourite – the much-acknowledged talk of the town, clinching her former position at the TV show. But this doesn’t come without a catch – in order to keep her youthful façade intact, she must cyclically revert to her original form, leading to an unsustainable equilibrium.
Coralie Fargeat, the French screenwriter and director, draws inspiration from ‘The Picture of Dorian Gray’, along with other thrilling sagas resonating themes of distorted duality. Classified as a satire on the prevalent makeover extremes and fitness fervor of Los Angeles, Grey Matter, renowned for its dark humor, is an unforgettable body horror spectacle. The film delivers a dramatic visceral impact, which produced a performance by Demi Moore that is profound and in equal parts relatable.
Moving on to the world of Transfigure, a sharply contrasting movie in terms of style and atmosphere yet sharing an underlying essence of identity crisis post an accelerated transformation. Transfigure showcases the rather low-profile and individualistic existence of Edward – a New Yorker – grappling with neurofibromatosis that manifests as prominent face tumors.
The disruptive face lesions make Edward a focus of public curiosity, often tipping into inconsiderate intrusiveness. Two turning points follow this routine monotone of Edward’s life. Firstly, he experiences an emotional revelation in the form of Ingrid, his neighbour with whom he falls in sparks a romantic connection; Ingrid, an aspiring dramatist, is portrayed by Renate Reinsve. Secondly, he encounters a miraculous medical intervention – a novel drug procedure, which produces striking outcomes. The tumors vanish, unveiling the incandescently handsome Sebastian Stan.
In response to any emerging speculation about casting a star in prosthetics, writer-director Aaron Schimberg brings the thought-provoking narrative to the spotlight. As Edward begins to enjoy his newfound glamorous life, the film incorporates contrasting categories and fluctuating moods. The storyline swings from suspense-filled scientific invention to comic relief, reminiscent of traditional Woody Allen styles.
The plot later introduces Adam Pearson, a British actor diagnosed with neurofibromatosis, as a new character. Pearson’s confident, captivating performance that sends the narrative into an exciting new course. He plays a charming and smart counterpart to the terrific Stan’s performance of a man who must face the unwanted side effect of achieving his desire.
Overall, Transfigure has revealed an array of layers, subtly tackling beauty, self-creation, the representation of individuals through art and disability. Schimberg succeeds in creating an undefinable film, ambitious in its themes and extremely meticulous in its narrative. He masterfully bundles all these separate, often aggressively contradicting concepts, with a finesse that can only be rightfully labelled as beautiful. The viewer is left with a lingering sense of fascination at the exploration of the human desire for change and the consequences of such transformations.
