12 Best Movies To Watch If You Like The Substance

Over the last few months, the world has gotten hooked on “The Substance.” Despite some staunch naysayers (not to mention some nauseous audiences and a stubborn studio), the popularity of director Coralie Fargeat’s balls-to-the-wall body horror farce is simply undeniable, from its unexpected box office haul to its virality across social media platforms like Letterboxd and TikTok. As the fervor steadily rose, so too did its awards buzz. The film has exceeded expectations across multiple Oscars precursors, including an unprecedented five Golden Globe nominations, leading awards experts to predict it could go all the way to Best Picture.

With this in mind, when someone falls in love with one film, the first thing they want to do is watch another one just like it. Thankfully, much like how Sue (Margaret Qualley) is derived from Elisabeth’s (Demi Moore) spinal fluid, so too is “The Substance” a brainchild of countless cinematic inspirations. Observant fans will recognize countless shots directly lifted from horror classics like “The Shining” and “Psycho” as well as both visual and spiritual connections to the works of David Lynch and David Cronenberg. 

If you’re reading this, we’re sure you’re itching to explore the film’s wealth of further viewing and we’ve got you covered. Here are 12 films like “The Substance” that you can latch onto next, for reasons both obvious and not.

Let’s start from the very beginning, more specifically 2017, when Coralie Fargeat kicked off her career as a feature film director with “Revenge.” The aptly titled rape-revenge thriller follows a young woman who is raped and left for dead by three men in the middle of the desert. She miraculously survives and begins a manhunt for retribution, flipping the script on a genre which previously left the victim powerless.

When compared to “The Substance,” “Revenge” obviously maintains consistent themes of female rage and gendered violence. However, it most especially –- if retroactively -– reaffirms Fargeat’s reputation as a master visual stylist. From perfectly framed macro close-ups to color-soaked production design, the French filmmaker is clearly in control of every detail of every frame, making for a thoroughly rich cinematic experience. Viewers may also recognize a number of other Fargeat trademarks present in her debut: insects as symbolism, overwhelming electronic music, and a penchant for blood. Though her follow-up is a clear step up, Fargeat certainly struck a chord with audiences on her debut, setting her up for what would be (and will now continue to be) incredible success in the genre world.

If you or anyone you know has been a victim of sexual assault, help is available. Visit the Rape, Abuse & Incest National Network website or contact RAINN’s National Helpline at 1-800-656-HOPE (4673).

Though Coralie Fargeat has never spoken about “The Picture of Dorian Gray” when citing her influences for “The Substance,” anyone who is familiar with both stories would be blind to not spot their similarities. Oscar Wilde’s Gothic staple follows orphaned socialite Dorian Grey who, after having a portrait of him painted, proclaims he would sell his soul if the painting were to grow old and he were to remain young. Though there is no portrait (not counting the looming billboard outside of Elisabeth’s penthouse window), Elisabeth makes the same deal with the devil when she injects herself with The Substance, leading both her and Dorian’s original self to decrepitly age while their younger selves live without care. Naturally, both stories see that carelessness run awry, leading their younger selves to attempt killing their older selves in hopes of salvation. This is where “Dorian Gray” draws the line, while “The Substance” jumps the shark to reach new, deplorable peaks.

If you’re going to experience “Dorian Gray,” your best bet is to check out the 1945 adaptation directed by Albert Lewin and featuring a young, Oscar-nominated Angela Lansbury. While 2009’s retelling implements more modern horror elements, it falls short on just about everything else. At least in the 1945 version, you get the story realized in gorgeously stark black and white, while the portrait itself is eerily inserted using Technicolor inserts.

Amongst the sprawling oeuvre of body horror master David Cronenberg, no particular work in “The Substance” is more mined than his 1986 remake of “The Fly,” the one real contender for the greatest body horror movie of all time. Both films show their subjects undergo horrific transformations into both utter monstrosities of societal outrage and incredible achievements of makeup and prosthetic design. 

Toward the end of “The Substance,” Sue transforms into Monstro Elisasue, a mutilated mish-mash of Elisabeth, Sue, and god knows what else. In Cronenberg’s film, scientist Seth Brundle (Jeff Goldblum) slowly morphs into a human-insect hybrid after a housefly sneaks into his teleportation device during an experiment. He goes from growing hair and gaining strength to losing limbs and shedding skin, resulting in a radical creature design that remains one of cinema’s most iconic. “The Fly” won the Oscar for Best Makeup Design in 1987, the award that -– in another spiritual connection -– “The Substance” is most poised to win come Oscars Sunday.

Coralie Fargeat has explicitly name-dropped “The Fly” as a formative influence in Elisabeth’s metamorphosis (via Cinema Daily US), however, she also reflected its empathy toward the star creature. He may look frightening, but we are ultimately witnessing Seth (and, in “The Substance,” Elisabeth) in physical and emotional pain, now suffering the consequences of his ambitions. We can’t help but find him painfully, if tragically, relatable.

Most David Lynch diehards would assume that “The Substance” pays most direct homage to more experimental efforts like “Lost Highway” or “Mulholland Drive.” Those films are in there, however, its most direct ancestor is one of Lynch’s more straightforward affairs: “The Elephant Man” from 1980. Based on the real life of Joseph Merrick, “The Elephant Man” follows John Merrick (John Hurt in a role that Dustin Hoffman was deemed “too famous” to play), a radically disfigured member of a traveling freak show who is taken in by a local surgeon. As his quality of life improves, his kind, educated soul shines through, but he remains the subject of violent ridicule.

For Elisabeth’s radical transformation into Monstro Elisasue, Coralie Fargeat took direct inspiration from Christopher Tucker’s makeup design for Merrick (via Vulture), which itself was based on real-life casts of his face (via AFI). The visual similarities are apparent, but the symbolic connection is far more significant; just as Merrick’s body was made an object of perverse shock and awe, so too is Elisasue’s body made an egregious spectacle. Though some have argued the language of disability doesn’t perfectly map onto a satire of beauty standards, much of the film’s audience believe there is still a kinship between the experiences of both Merrick and Elisasue, two figures desperately attempting to be accepted by the same society that made them pariahs.

Another showbiz satire in this year’s awards race, Adam Schimberg’s “A Different Man” uses the trappings of body horror as but one element in a melting pot of genres that sardonically flips the script on disability. The film stars Sebastian Stan as Edward Lemuel, a struggling actor with neurofibromatosis –- a condition that has his face covered in large tumors -– who undergoes an experimental surgery to reverse his condition. The results are staggeringly successful, however, the arrival of Oswald (Adam Pearson), a charismatic actor with the same prior condition, sees his entire world unravel.

Those who have watched both “The Substance” and “A Different Man” will be the first to point out that they are quite different films. The former is exactingly crafted and explicitly over-the-top, while the latter is visually grimy and reaps its humor from darker, more deadpan sensibilities. That said, they share several key elements: incredible prosthetics, grotesque imagery, a tour-de-force lead performance, and the desire to take their farce to hilariously absurd lengths in service of, as NPR’s Justin Chang puts it, “cautionary tales about…the horrors of extreme self-improvement.” 

But where “The Substance” stops, “A Different Man” goes several steps further. Schimberg’s film supposes that Edward’s disability, something he perceived as a hindrance, was a scapegoat for his own psychosis. Perhaps the only thing holding him back was himself, prying open a deeper investigation into how misguided identity politics shape our worldview.

Continuing on through the canon of “be careful what you wish for,” John Frankenheimer’s “Seconds” portrays another surgical transformation with devastating consequences. When unfulfilled New York banker Arthur Hamilton (John Randolph) is referred to a mysterious company that can fake his death and give him a new life, he is transformed into young painter Tony Wilson (Rock Hudson) and relocated to California. He assumes a fresh start will help satisfy his inner-longing, but at the same time, he is unable to escape the emotional regret of his prior life, putting him at odds with the company and its covert members.

There is little body horror to be found in Frankenheimer’s film, but both “Seconds” and “The Substance” have its lead characters take on a younger persona in the hopes it can give them what they’ve lost. For Elisabeth, it’s fame and beauty. For Arthur, it’s youth, romance, and art. Both believe they will finally live up to a standard that society has imposed onto them, only for them to learn that those external benchmarks will not comfort them. Rather, it is only acceptance of yourself that brings you peace. Much like in “The Substance,” Frankenheimer’s story does not conclude in a happy ending, though it is a powerfully surrealist rumination on what makes life worth living and the meaningful connections we can make to enjoy a life in our own skin.

Darren Aranofsky’s psychological horror film is a strong double feature with “The Substance,” even if Coralie Fargeat’s explosive finale makes “Black Swan” look surprisingly tame by comparison. Natalie Portman won an Oscar for her portrayal of Nina Sayers, an emotionally fragile ballerina who is cast as both the White and Black Swan in her company’s production of “Swan Lake.” Though she is a perfect fit for the White Swan, her struggle to embody the darker Black Swan puts her in competition with fellow ballerina Lily (Mila Kunis), pushing her to an emotional brink that leads her to descend into madness.

“The Substance” and “Black Swan” feel like sibling stories in that they both follow a woman who is mistreated by her industry and tortured by her efforts to overcome it. They both use body horror to portray their characters’ transformations, though this is where they start to diverge. Elisabeth’s use of The Substance is literal and rendered with effects that, though certainly enhanced in post-production, are visibly practical. Nina’s evolution into the Black Swan tows the line between fantasy and reality, thereby using an obvious mix of both practical and visual effects. Though select moments are a bit outdated by 2020s standards, Nina’s facial doubling remains unmatched as does the film’s culminating ending in which she dances with the dark side and fully embodies the Black Swan -– CGI wings and all.

Those interested in Coralie Fargeat will find a natural next step in Julia Docournau, a fellow female, French horror director whose wild but tender sophomore feature, “Titane,” similarly took the prestigious Cannes Film Festival by storm (It wound up winning the coveted Palme D’or, while “The Substance” only won Best Screenplay). By that logic, most would recommend “Titane” as a natural layup to “The Substance,” but we think that Docournau’s prior feature, “Raw,” may be a better fit. It too played at Cannes and took home a prize, however its combination of coming-of-age drama and cannibalism feels more in line with Fargeat’s directorial carnality.

“Raw” follows Justine (played by Docournau’s muse, Garance Marillier), a young vegetarian entering veterinarian school alongside her upperclassman sister, Alexia (Ella Rumpf). As part of their hazing rituals, Justine is forced to eat animal meat, which slowly unleashes a newfound lust for eating human flesh. Much like Elisabeth and Sue’s self-destructive behavior whilst sharing The Substance, Justine’s struggle to accommodate both her debaucherous classmates and her ferocious cravings pressures her into making a host of disastrous decisions. It all stems from Justine caving to her school’s archaic ideals of femininity and sexuality, something that is at the heart of “The Substance” as well. Both Elisabeth and Justine completely lose themselves in pursuit of their goals, making for a complex and gnarly female-led character study.

Really? The movie about the girl whose vagina has teeth? Yes, really. The fact that Mitchell Lichtenstein’s “Teeth” is such a surprising inclusion on this list at all reveals how few people have actually seen the film, making it even more appropriate for this list. The film is indeed about a woman who wreaks havoc on men with her vagina dentata, but it is just as much about a Christian high schooler who, initially abstinent, is forced to sexually come of age in a world where men disregard women’s autonomy. What begins as disillusionment quickly morphs into a reclaimed sexual confidence that, both literally and figuratively, bites back.

Aside from women maneuvering the patriarchy by way of one-of-a-kind gore, there is little visual or even thematic resemblance between these two films. Their connection is more spiritual in nature, as they both feature filmmakers crafting audacious feminist horror stories that, though strange, exhibit someone in full control of their vision. Just as Coralie Fargeat is in tune to every detail in “The Substance,” so too is Lichtenstein fully locked into his film’s bizarre tonal puzzle. The concept’s initial shock and awe can’t help but inspire nervous laughter, which Lichtenstein exploits in a third act flips the script and turns “Teeth” into a hilarious satire. Though we wish the film went even further with its absurdity, you can’t deny Lichtenstein’s restraint merits surprisingly empathic results.

Sometimes, all you want is some schlocky horror with crazy practical effects. This is about all that connects “The Substance” to “Basket Case,” Frank Hennenlotter’s b-movie classic that features some of horror’s most twisted, street-level terror. The film centers on the misadventures of Duane Bradley and his formerly-conjoined twin brother, Belial (both played by Kevin Van Hentenryck), a murderous blob of skin with two arms who Duane carries around in a wicker basket. The two lay low in a dingy Manhattan hotel whilst they seek revenge on the doctors who forcibly separated them as kids, but Belial’s vengeful rage quickly proves harder and harder to control.

Those who admire Monstro Elisasue’s demented design will surely appreciate Belial, one of the most ridiculous yet spectacular creations in all of horror. The animal-like creature was achieved through a combination of puppetry, stop-motion animation, and Hennelotter’s own hands dawning prosthetic gloves. Though this hodge-podge of techniques is obviously absurd, it’s all a part of the charm — the same charm that makes “The Substance” so thrilling as well. Coralie Fargeat’s film is a far more polished piece, but both films channel into a sensational anarchy that makes them wildly entertaining. Witnessing Belial ravage his enemies is as blatantly bloody as anything in “The Substance,” including one kill with syringes that any old school horror fan, and certainly Coralie Fargeat herself, would appreciate.

Believe it or not, the motif of conjoined twins continues on this list with James Wan’s “Malignant,” another unpredictable horror joint with enough blood and gore to make any fan of “The Substance” froth at the mouth. The film, a surprising original entry amidst Wan’s many horror franchises, centers on Madison (Annabelle Wallis), a woman who begins seeing visions of murders that are happening in real-time. In a sensational twist, she eventually learns that her twin brother, Gabriel (voiced by Ray Chase), half-formed to the back of her head, has reawakened and been using her to enact revenge on the surgeons who once attempted to kill him.

“Malignant” is more darkly stylized than “The Substance,” though both films are celebrated, if contentious, horror stories that push the envelope. The third act of “The Substance” often feels like the cherry on top of what has already been an otherworldly experience, but the bonkers conclusion of “Malignant” hits you like an unexpected freight train. Wan plays things relatively straight until introducing Gabriel, after which his already camp-adjacent horror mystery explodes into a body horror spectacle whose chaotic action setpieces would make “John Wick” blush. This production value certainly makes it feel like a step up from “The Substance,” mostly because it is a proper studio horror flick, making it a natural follow-up.

The only film on this list to be deemed the worst of its year by film critic Roger Ebert, “Death to Smoochy” is a comedy masterpiece that has long deserved reappraisal. Though we would be lying if said the film reaches “The Substance” levels of quality, both films are unquestionably ruthless showbiz satires that become absurd to the point of parody and, as such, make for fascinating companion pieces.

“Death to Smoochy” is the story of Smoochy the Rhino, a Barney-adjacent children’s television character designed by Sheldon Mopes (Edward Norton) to bring honest-to-goodness morals and values back to kid’s entertainment. His rise to fame comes at the expense of “Rainbow” Randolph Smiley (Robin Williams), the network’s prior host who, after being arrested for bribery, is left unhoused. Smiley conspires to ruin Mopes’ career by any means necessary, leading to results that may or may not have aged like fine wine (if you know, you know).

Danny DeVito’s directorial follow-up to “Matilda” (in which he also stars, because of course) is unabashed in its cynicism but in service of tearing his industry apart, something which Coralie Fargeat would surely approve of. Both films also feature well-known A-list stars shedding their skin in rip-roaring performances. Demi Moore’s natural charm succumbs to rage and self-loathing, while Robin Williams’ bubbly persona and comedic endurance is made meta to mask a shallow and egotistical sociopath.