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The Substance

Director – Coralie Fargeat – 2024 – US – Cert. 18 – 140m

****1/2

Hollywood star Elisabeth Sparkle (Demi Moore) hosts a network TV keep fit show, but she’s getting on in years – and so is her audience. The show’s producer Harvey (Dennis Quaid) has decided that younger talent is needed in order to attract a younger audience, and gives her the elbow. By a quirk of fate or screenplay, a mailshot about something called The Substance arrives in her penthouse apartment. It’s some sort of beauty product, although the high-end design of the blurb doesn’t explain exactly what it is or what it does. There’s a phone number.

Elizabeth’s identity is bound up with the former show. She calls the number. She engages in conversation with the unseen voice on the other end of the phone. She decides to give The Substance a try. She is told to write down an address. Later, she is sent locker card key number 503 and instructed to collect her package from that address. It turns out to be a derelict entrance with a shutter that only opens part way to about a yard in height, meaning you have to duck under it.… Read the rest

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Features Live Action Movies

Klokkenluider

Director – Neil Maskell – 2022 – UK – Cert. 15 – 84m

*****

A couple have seen something; two men are assigned to look after them as they wait in the middle of nowhere for a journalist to come and interview them – a subscription exclusive on BFI Player from Thursday, February 22nd

Mr. Appleby (Amit Shah) and Mrs. Appleby (Sura Dohnke) arrive at the house on the outskirts of a small village in Belgium they’ve booked for a party. Appleby is not their real surname, and nor will there be a party. He is what the Dutch call a ‘klokkenluider’ or bell ringer, slang in that language for whistleblower. He has approached a newspaper and is following instructions. They are at the house awaiting the arrival of a journalist to interview them.

Meanwhile, Brits Kevin (Tom Burke) and Ben (Roger Evans) are driving to meet them. They have guns in the boot. We don’t really see them at first. For the first few minutes, they are shown only in little details cropped or in shade so as to be almost unrecognisable – a fragment of a detail in a wing mirror here, a view beyond a car window part obscured by a reflection there – and they choose their words carefully so as not to give away anything more than they need to.… Read the rest