There is no doubt that in today’s world, most of us are more obsessed with beauty than ever, as self and image perceptions are constantly bombarded with social media, TV programs, and movies. It is what Naomi Wolf described as the beauty myth. For her, beauty standards are impositions for women with unrealistic requirements for looking “ideal.” In that way, it becomes a rat race, where those who are “ideal” are commended and those who are not are ostracized, thus creating a culture where people, concerning their worthiness, are ranked based on physical appearance.
Coralie Fargeat’s The Substance profoundly treats the topic of this obsession. This theory, which combines elements of thrill, psychology, and social criticism, investigates what occurs when one’s beauty becomes the center of everything. Many characters grapple with self-doubt and the desire for validation, and the film demonstrates that the psychological torture caused is not merely an imposition of cultural standards of beauty but an insidious moral force that constructs and governs one’s self and society.
The Substance constructs an exaggerated but realistic spheroid of existence where beauty is another asset. The narrative revolves around Elisabeth Sparkle, a famous aerobics presenter, who happens to experience a blow when her employer sacks her on her 50th birthday. In the hopelessness of it all, a lab agrees to give her a drug that promises to turn her into the “better” version of herself. However, nothing is free. While she becomes engrossed in her new image, she discovers that the drug has sinister consequences, revealing the results of a Faustian bargain.
The idea of dealing with beauty commercially, altering a restrictive social perception to trod lightly upon a culturally perishable ideal, is one of the themes running through the story of The Substance. There is a burgeoning personal and mental dependency upon the psychotropic agent, which warps the personas even further than the exterior changes. Beauty as a “cultural currency” is reminiscent of how social value is often attached to it, to the concepts propounded by Wolf.
The film’s embellishments lure empathy and emotional levels in the audience as they explore the plight of dainty, able people and the levels of insanity that one can experience to remain among the entrusted. The film includes disturbing yet beautiful images that present the audience in a setting where beauty is hard to achieve without consequences. With the beauty myth provided in The Substance, there appears to be a paradox as one would want to know whether beauty is a source of happiness or will just end up disappointed.
Wolf was the first to write about the “beauty myth” issue in her most famous work, The Beauty Myth. She argues that beauty is much more than skin deep. They are potent social tools engineered to subjugate women. Instead, she refers to this belief in the form of beauty as the “iron maiden” that imprisons everyone who dares to dream. Rather than embracing being different, the culture imposes and enforces a norm, which is globalized, advertising, and Hollywood-shaped, and makes the populace regard some features as attractive or worthy.
Despite being in the 21st century, Wolf’s concepts still resonate widely. With the growth of the internet, such extremists have gone to extraordinary lengths to “perfect” versions of themselves. Research has shown that contact with such representations can cause self-objectification and frustration concerning one. Dion has pointed out the integrating halo effect, where good-looking individuals are perceived as more able, happier, and better than they are. On the flip side, the same effect can have a negative impact: some who do not conform to these can be rendered less worthy.
Kilbourne contended that advertisements are directed towards women, creating a market in which the beauty concept remains profitable, and women must “better” themselves. In The Substance, it is expressed as one learns how the obsession with looking beautiful can create an addiction to seeking approval from others. The illusion of beauty is not merely an individual choice; it is a societal pressure that can influence the course of life, restrain options, and can, on some occasions, be detrimental to the health of the mind and body.
The Substance transforms Wolf’s theory into an eerie visual narrative. The film depicts beauty as an innocuous attribute and an arduous, persistent pursuit that requires toil and self-denial. It reflects how society’s obsession with ideals often distorts reality, leading to the false belief that appearances are all that matter. The film’s themes, through its characters, powerfully indict the belief in beauty, where beauty is seen as a quick solution, but it always comes with painful consequences.
In The Substance, beauty extends a characteristic to become an all-encompassing addiction that determines the actions, social interactions, and characters’ psychological states. At first, Elisabeth thinks of beauty as the means to allow her to be accepted and happy. However, these ideals are far from innocent. Instead, they resemble a cage, restraining her—and the viewer—within the limits of an ambition that might never be fulfilled.
Elisabeth’s journey in the film reflects what Wolf calls the “double bind” of beauty: people celebrate it, but keeping up comes at a cost. At first, Elisabeth comes across as relatable—a person who feels out of place and believes that beauty will finally bring her the acceptance she craves. When Elisabeth starts using the substance, her look shifts to match society’s ideal—smooth skin, symmetry, and a slim figure. However, with each dose, she notices little changes hinting at her transformation’s actual cost.
The film shows her transformation as both alluring and unsettling, with Elisabeth becoming more obsessed with her reflection, like Narcissus in Greek mythology. This character arc drives home the point that when people chase perfection, they often lose sight of themselves. Wolf’s “beauty myth” argues that this is not accidental; it is a cultural trap, urging people—especially women—to value themselves through a limited, narrow lens, fueling the economy while eroding personal autonomy.
An impactful moment in the film is when Elisabeth starts shying away from mirrors, as the image of herself staring back has transformed into someone she no longer recognizes. This moment echoes Wolf’s proposition that the quest for beauty is not liberating. Instead, it enslaves people by making them abhor themselves in the pursuit of a flawless yet non-existent figure. It displays this struggle within, suggesting that the chase for beauty becomes an obsession and does more harm than good.
Through the plot and the use of imagery, Fargeat critiques beauty ideals in The Substance. Beauty is almost glorified in scenes in which the substance takes on the form of a bright, somewhat eerie object. It remains teasingly close as if inviting one to partake in the pleasures but with layers of risk that are always hidden. This visual imagery comes very close to Wolf’s “iron maiden” metaphor, in which beauty is seductive but deadly.
Elisabeth’s seclusion acts as a narrative practical component as her fascination with beauty increases. Having once been, she experiences a distance from her friends and family. It illustrates the social price one pays for beauty. It will be valid for the “halo effect” as well; initially, there is admiration for Elisabeth’s transformed self, only for the transformed self to begin losing its transformed look and for people who previously admired and craved the beauty to avoid, hate and regard the beauty in fear.
The filmmakers try to illustrate a burden related to being obsessed with beauty through distortion in the scene when Elizabeth stares at the mirror. Occasionally, the camera distorts or softens her image, representing how her identity is lost while becoming fixated on an ideal. Based on Tiggemann and Slater’s model, such beauty standards promulgated through media are self-objectifying and negating corporeal image, causing the detachment of the self as a subject and treating it as an object for the gaze of others.
The Substance does not simply depict an external change; it addresses the internal effect of adhering to a certain standard. It is well known that such beauty obsessions can affect one’s mental health. In the case of Elisabeth, this manifests as anxiety, depression, and an intense dread of losing her recently acquired beauty. It is related to Fredrickson and Roberts’ definition of objectification, which indicates that concern for one’s physical appearance and monitoring it all the time can cause anxiety, decrease self-worth, and create a false sense of self.
Elisabeth’s reliance on the drug demonstrates the extent to which standards affect her condition. She begins to exhibit the first anxiety signs, fretting that the imperfection will spoil her makeover and lead to styles such as looking in the mirror all the time. It is in line with self-objectification—a phenomenon in which individuals internalize others’ perspectives so much that they regard themselves solely as appearances. The visuals demonstrate this concept when portraying Elisabeth’s routines, depicting the effects of norms on one’s self-image.
There is also evidence to support the correlation claims between exposure to standards and disorders. Tiggemann and Slater found that young women who had been viewing images of “perfect” bodies reported higher levels of satisfaction and self-esteem than those in the condition. This meaning in the beauty ideologies fixed by both the women and the society surrounds Elisabeth and enhances her drug use. Her voice pushes her over the edge in her quest for perfection. Such situations lead to self-objectification.
Another psychological effect The Substance explores is the loss of identity in the quest for beauty. As Elisabeth gets more wrapped up in her appearance, she drifts away from her true self. Her character arc shows the cost of chasing society’s ideals. Wolf argued that beauty myths force people to disconnect from their authentic selves, focusing only on what society deems valuable. The film visually and narratively highlights this disconnection by showing Elisabeth’s transformation from a vibrant, complex person into a hollow version of herself.
Envisaging these beauties can be successfully turned into destroying the very essence of a person. The Substance demonstrates this in the scenes when Elisabeth fights to maintain friendships with those who do not understand her fixation. She shuts down, perceiving them as people only there to reassure her of her beauty or else they are useless. It is consistent with sociological studies, which have shown that individuals preoccupied with looking good tend to experience more loneliness and lower satisfaction levels in their social spheres.
Ushering in doubts regarding the impact on the psyche of a world addicted to physical appearances, The Substance focuses on Elisabeth’s arc. It shows how the pursuit of perfection results in alienation from others, anxiety, and the loss of one’s self, thus reinforcing Wolf’s argument–such beauty ideals do not liberate but rather entrap individuals in the spiral of self-loathing and disdain.
Aside from battles, The Substance also examines how the fixation on beauty influences society and culture. In this case, beauty is a goal and a necessity, while those who do not are ostracized. This concern for looks indicates that society rewards only those considered beautiful, as per the standards, while punishing any that do not fit the criteria. These trends are consistent with the beauty myth thesis, which indicates that images of beauty are used as social capital to determine how one is valued and interacts with others.
The term refers to “social capital” that enhances or inhibits social engagement or social links. This is the case with Elisabeth, who has access to what she cannot otherwise reach. This ‘halo effect’ posited by Dion also goes along with it—attractive people have perceived capabilities, trust, and intelligence even without evidence. The actress’s placement within the film gradually rises with the rise of the character Ellen’s beauty, for this society places beauty above all else, highlighting the extent of this phenomenon.
The film’s overall theme portrays a community that emphasizes outward beauty rather than the inner beauty of an individual. Kilbourne argues that the media constructs and sustains social attitudes regarding the female figure. There is no counterargument as the material is offered for consumption as a social good. It supports Wolf’s assertion that beauty as an idea is used to structure society in such a way that one forms an understanding of every other person in their physical form and not in their humanity, thus creating oppression vertically on gender.
Elisabeth’s increasing reliance on substances begins to take its toll on her social circles, which showcases more how the appetite for beauty can destroy interpersonal relationships. Her friends and family turn out to be inadequate as sharing the same obsession with beauty and thus move away from her, creating a gulch with people she used to be close to. It explains how love and sex are affected by imposed social concepts of beauty, which not only command respect but also cause individuals to want to suffer in order to be coveted.
Feminist theory criticizes structuralist anthropology in that it does not take into account how culture impacts individuals and how people relate to one another. This can be demonstrated in The Substance, where Elisabeth’s fixations on her appearance result in her isolation from others. The way Elisabeth is shown to be engaging in relationships within the film corresponds with the matter. It is shown that many who conform to the standards tend to feel a responsibility to maintain such standards. In certain instances, such a worth is forfeited.
The film explores the assumption that beauty brings people together; instead, it mostly secludes them through barriers. People sometimes wear beautiful masks, but in a world where beauty is paramount, relationships can often be deal-driven and superficial rather than built on common enduring principles, respect, and mutuality. It finds parallels in studies measuring the impact of social media on relationships. Rather than fostering healthy interactions, relationship envy and shallow interactions are significantly encouraged.
Among the many aspects of The Substance, one aspect that stands out is the role played by beauty in putting all the characters in difficult situations. As Elisabeth’s addiction to the substance grows, she has to confront the morality behind her decision. Elizabeth preoccupies herself with the ideas of self and how much socially acceptable behavior costs. The movie portrays the painful realities of the conflict between one’s values and the current standards. It is consistent with Wolf’s thesis that the beauty myth can render one bereft of agency and moral conviction.
Throughout The Substance, Elisabeth continuously faces conflicting instances, revisiting her sense of identity and being genuine. To begin with, she resorts to the substance for self-improvement; nevertheless, as she begins to rely on it more and more, Elisabeth wonders if she indeed looks like the enhanced version of herself. This ethical issue aligns with Wolf’s argument about how beauty norms make individuals detach from their realities and wear an artificial self-created by society.
The movie employs Elisabeth’s gradual transformation to explore the ethical dilemmas posed by the concept of “being real” in contemporary society, where fake standards are encouraged. It shows, in detail, the way she tries to reach out to the self she used to know, only to become more distanced from the self that she is. Her experience resembles research in the real world, where it has been shown that the more people seek others’ approval, the more unworthy they feel as if they have to pretend to live instead of living freely without pretending.
By depicting Elisabeth’s gradual dissipation of self, The Substance confronts the viewer with moral dilemmas that arise in a society that prioritizes appearance over substance. It encourages the viewer to consider how beauty ideals constrain people into presenting themselves in a manner that is often detrimental to their true selves. In this context, Grabe, Ward, and Hyde’s findings on why and how healthy women internalize beauty ideals often lead them to accept and pursue goals that are inconsistent with their values are in place.
Another ethical perspective in The Substanceconcerns the apparent obsession with beauty as the substance becomes detrimental to Elisabeth; she faces an ultimatum: use it for the sake of preservation of social standing and narcissism or quit it and suffer the loss of approval that she has come to know and rely on. This sort of dilemma corresponds with the ideas held by Wolf in her views about beauty, which state that beauty ideals imprison people and make them go back to seeking what is impossible.
The film’s treatment of ambiguity creates several questions regarding beauty. In illustrating the characters’ obsession with physicality, The Substance alludes to the fact that beauty compromises exist. It is consistent with studies of the beauty in the media, although the mediation is ignored. Elisabeth’s struggle brings out the beauty standards to their greatest extent. Beauty might bring rewards, but for quite a large group of people, it comes at a price that tries to take a part of their integrity.
This extent allows Elisabeth to make a last decision. However, the decision she is to make brings forth the price of her pursuit. She attempts to restore herself in all possible, and her depiction reinforces the struggles people face trying to escape the notions imposed upon them by society. This portion supports the notion that myths surrounding beauty are some of the most influential and destructive forces in our lives.
Beauty is not only at the surface, “flesh.” It is embedded in human beings, is an oppression, and raises issues. The film highlights how damaging standards are through Elisabeth’s experiences. It portrays how society’s obsession with beauty affects the individual’s whole being. The film depicts the hold that concepts have over individuals in society, starting from angles such as anxiety and self-objectification to social ones manifesting in alienation and relationships.
Expanding on Wolf’s perspective regarding beauty, The Substance underlines that norms are not objective; instead, they are means by which a given society governs behavior, creates reliance, and, most importantly, displaces authenticity. By portraying Elizabeth’s inner and outer conflicts, the film invites the audience to look back at their encounters with beauty standards and to speculate what conforming to such standards actually costs and what one has to renounce to be deemed attractive in the given society.
At the end of it all, The Substance explains why we must reconsider the importance of beauty in great works of art. It argues that although particular looks may be admired in a given society. Earnestness of the film, however, is founded on its implications that in contemporary society where “the image” reigns supreme, one must realize that getting rid of the “myth of beauty” is not only an option one chooses to take but is also a means of restoring one’s identity, dignity, self-agency and self-respect.
References
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- Fredrickson, B. L., & Roberts, T. A. (1997). Objectification Theory: Toward Understanding Women’s Lived Experiences and Mental Health Risks. Psychology of Women Quarterly, 21(2), 173–206.
- Grabe, S., Ward, L. M., & Hyde, J. S. (2008). The Role of the Media in Body Image Concerns Among Women: A Meta-Analysis of Experimental and Correlational Studies. Psychological Bulletin, 134(3), 460–476.
- Kilbourne, J. (1999). Can’t Buy My Love: How Advertising Changes the Way We Think and Feel. Touchstone.
- Perloff, R. M. (2014). Social Media Effects on Young Women’s Body Image Concerns: Theoretical Perspectives and an Agenda for Research. Sex Roles, 71(11-12), 363–377.
- Tiggemann, M., & Slater, A. (2004). Thin Ideals in Music Television: A Source of Social Comparison and Body Dissatisfaction. International Journal of Eating Disorders, 35(1), 48–58.
- Wolf, N. (1991). The Beauty Myth: How Images of Beauty Are Used Against Women. Harper Perennial.
