Fargeat, as a female screenwriter and director, expertly identifies the demands placed on women and exploits them both – oh-so subtly in one scene, sprayed with bloody gore in the next. There’s a lot of emphasis on words such as ‘were’ when used in relation to Elisabeth’s faded career and some poignant moments when we see her once worshipped Hollywood Walk Of Fame star become cracked and befouled by burger sauce.

The use of everyday sound effects in this film is exceptional – for instance, the sound of boxes being ripped open and sounding like skin being flayed. Zips on dresses and catsuits are likened to spinal cords (Fargeat repeatedly uses imagery of Moore’s bare back), ready to unzip and unleash the monsters within ourselves.

Words such as ‘eviscerated’ and ‘broil’ are highlighted in garish recipe books. Food is grotesque. Fattening. Gluttonous. It’s all very visceral, very physical, much like the gut-wrenching transformation both Sue and Elisabeth have to endure every seven days to keep up their Dorian Gray-esque pact.

There are also a lot of classic horror references in this movie – and let’s face it, the genre is having a moment. Fargeat pays homage to films such as The Shining, Carrie and The Thing, and it really works. Audiences (particularly horror buffs) will find themselves making comparisons throughout the movie, in the best ‘oh, I see what she’s done here’ way. Wickedly funny, gruesome (the finale is absolutely wild, you’ve been warned), The Substance is an incredibly clever movie. It’s no wonder it won best screenplay and received a 10-minute standing ovation at Cannes.

Are toxic beauty standards the new frontier in horror? Watch this audacious new Demi Moore movie to find out…