Dat the rear of the Oscars 2025 thanks to The Substance (back in cinemas from February 6th). Sensational but not so much, Demi Moore finally did it, she managed to get her first nomination. The actress who defined herself at the last Golden Globes as – recalling a producer’s comment – one popcorn actress – that is, a one-man blockbuster – is now history. In the top five actresses. A presence that, before Cannes 2024 (where Substance won the award for best screenplay), it was completely beyond any probability or magical thinking.
Yet, here we are, with a recognition that is also historic for the genre of Carolie Fargeat’s film (also nominated together with the director), body horror, and for a formidable performance as an almost exclusively physical actress. It sounds like action (as has always been Demi’s nature), and when has the Academy ever included stuff like this (perhaps only with Sigourney Weaver’s nomination for Aliens in 1986).
Historic Demi Moore: Oscar nominee for The Substancea horror film
The interesting aspect, in terms of customs, history of cinema, life opportunities and so on, it is everything behind and in front of this inclusion. And that is Hollywood and its children, raised to the top and then thrown into oblivion. Such a dark and dark place than in Demi the opportunity came from France, not Burbank. And he took it very quickly. Also because, The Substance it’s a horror film masquerading as a biopic: Elizabeth Sparkle – fired former diva who turns to a miracle substance to live a second youth – is none other than Moore.
One that is about the body and its preservationsometimes very successful and sometimes not, has built a career on it, maintained for as long as possible by investing in the cinematographic heritage at its disposal. Not that of Sophie’s Choicebut that of Stripteaseor of Private Janeor the pregnant and naked cover on Vanity Fair. The manufacturer who told her about the popcorn was a scoundrelbut Demi has always managed to keep her balance very well.
Including those of understanding, at 62 years old, when a horror story about a bad system that requires us to always remain wrinkle-free was a winner. In short, the part of life that is exempt from moral judgments of conduct in the real one. And supported by speeches of female empowerment on revenge, on holding on. A fair short circuit. But a very effective one at keeping interest alive on multiple aesthetic levels, between reality and fiction, between camp and truth. As well as the attention of the Academy, attentive (undoubtedly) to five names among whose names to include the lost daughter.
Demi in “The Substance”. (The Wonder Pictures)
Having said that, better candidate Demi than Nicole Kidman and Angelina Jolie (For Babygirl And Mary). Comeback is better than confirmation, comeback is always better. Even more so if, in fact, truly surprising beyond marketing and advertising: Moore’s return is not just action, it is also a non-negligible proof of silent acting.
Will Demi win the 2025 Oscar?
With Los Angeles half burned and half not, and The Substance which reconstructs its tourist symbols on an entirely French setDemi’s victory would be an appropriate event. Making Hollywood a place that knows how to accept criticism of its plastic life, especially delusional pop criticism. If desired, in favor of the actress – as for the nomination of Isabella Rossellini – one could also consider the recent death of David Lynch: Substance owes a lot to Mulholland Drive.
All this – obviously – excluding narration, biographism and sense of restitution of the wrong to a star who was one of the most powerful: that is to say kilometers of articles and stories to tell.
Removed Mikey Madison and Cynthia Erivo (apply for Anora And Wicked), unlikely winners, Moore’s competitors are Fernanda Torres For I’m still here (at the cinema on January 30) e Karla Sofía Gascón For Emilia Pérez. Torres won a Golden Globe for best actress in a drama (mirror of the one Demi won for a comedy or musical). Gascón, apart from Cannes, is still dry. Now, direct competition Moore-Torres is much more fiercealso because their films, like Pérezare nominated for best film of the year (I’m still here also to the best international film). Thus placing all three at a higher level of attention.
In addition to talent, the colleagues also have rather relevant biographical elements to support them. Torres, mother of a Brazilian family overwhelmed by dictatorship in a film all about herself, is the daughter of Fernanda Montenegro (present in the film). That is to say the most important Brazilian actress (95 years old) who was nominated for an Oscar in 1999 for Central do Brazildirected by Walter Salles, the same as I’m still here (lost to Gwyneth Paltrow). And this circularity, with a possible reparative gesture, could bring her luck.
Karla Sofía Gascón is the first transgender actress to win a nomination. And given the arrival of Trump, and the reinstatement of only two genders in America (male and female), his victory could be a huge middle finger of welcome back to office, president.
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