The Modern Female Fable
By Morgan Roberts
“Have you ever dreamt of a better version of yourself? Younger, more beautiful, more perfect.”
Fables are tales as old as time. From Aesop’s fables to the Brothers Grimm to Hans Christian Anderson to even Charles Kingsley, many have written fables, used commonly as cautionary tales about the folly of man. Most of these takes are written by men, so what happens when women construct fables for the masses? This year, two female filmmakers did just that, giving feminist takes on what it means to confront our deepest desires and what happens when we unleash our truest selves - in the least Disney adaptable ways possible.
Halin Reijn’s “Babygirl” does not seem like a fable from the outset, but as the film unfolds, it becomes almost a feminist parable about female desire, power, and dominance. The film follows Romy (Nicole Kidman), the CEO of a robotics tech company. Her organization employs a number of women in high powered positions. Outside of work, she has been with her husband, Jacob (Antonio Banderas) for nearly two decades, and the pair have two daughters together. She seemingly has everything. And what she does not have, she uses serums and injections and tanning beds and light therapy. Even with all of this money, all of her privileges, it still isn’t enough and she recognizes this after meeting intern Samuel (Harris Dickinson). She navigates power dynamics as she never has before, coming into her own.
Nicole Kidman and Harris Dickinson in "Babygirl" | A24
In lesser hands, Romy would submit to the younger Samuel, a commentary on masculinity. Instead, Reijn explores what it means to be a woman in her wholeness, the mess of it, the power of it, the vulnerability of it, and the complexity of it. But there are moments when the film focuses on what happens when we fly too close to the sun. Not everyone’s wax wings melt, finding themselves plummeting to the earth. Rather, it becomes a place of perspective. Awoken to recognize how far you actually are flying, and that tumbling towards the ground is the worst case scenario, yet recognizing that losing any bit of altitude will still be painful, requiring readjustment. In the film, while Romy encounters consequences to her own actions, they are not lethal. This makes “Babygirl” stand out as a fable. Normally, our protagonist is maimed or killed as a finger wag to readers. Reijn takes the approach of reality. Romy’s life has been built so precariously but also so intricately that boundary crossing and a single abuse of power would not be what crumbled her house of cards.
Though, the film still lives in a fantasy. Men can perpetrate abuses of powers for decades and there are still people blind to their insidiousness. Women, however, do not always fair the same. A minor misstep can cascade into a devastating avalanche for women. It is not to say what Romy does it right, nor is it an open call for those in power to wield it in this way. But, if there is an examination of the fairytale here, it is that Romy’s consequences are enough for her to learn from and grow from that it does not leave to the complete destruction to her life.
Conversely, “The Substance” follows a more traditional approach to the fable. In Coralie Fargeat’s body horror film, Elisabeth Sparkle (Demi Moore) is at a crossroads in her career and life. The longtime fitness expert finds herself newly unemployed largely due to her age. In a moment of desperation, she injects herself with The Substance. And from Elisabeth, Sue (Margaret Qualley) is born. But The Substance requires a balance. One week of Elisabeth, one week of Sue. What is taken from one side cannot be returned to the other. Sue is Elisabeth’s continued ambitions. Attractive, young, exciting. She is everything Elisabeth once saw herself as. During her weeks, Sue is on top of the world, with her fitness program “Pump It Up” skyrocketing her into stardom.
Margaret Qualley in “The Substance” | Mubi
The push and pull between Elisabeth and Sue chips away at Elisabeth. While Sue is living her dreams, during Elisabeth’s week, she remains at her apartment, sheltering from society until she can once again switch. Yet, as Sue gains more control and a desire to be an untethered self, Elisabeth suffers the most consequences. First, Sue takes a few extra hours resulting in an index finger rapidly aging on Elisabeth’s hand. Then, Sue takes a few more days, which Elisabeth finds herself to be more gray with an arthritic left leg. Soon, Sue decides it is best to throw the balance off, existing as if Elisabeth was not a part of her. After over three months, Elisabeth awakens to find herself looking like a nearly bald elderly woman - reminiscent a bit of the witches in Nicolas Roeg’s “The Witches.”
Elisabeth and Sue are personifications of our current beauty obsessed society. The way in which cosmetic surgery has become a norm - and more importantly, the denial of cosmetic surgery when it has been utilized. It is a commentary on aging. How some of the decisions we make in our youth have long lasting consequences as we age. How we care for our bodies and our souls lingers on long after that ephemeral moment of time. If “The Substance” teaches you anything, I hope it teaches you to wear sunscreen, even if it is cloudy.
Demi Moore in “The Substance” | Mubi
Overall, as a fable, “The Substance” demonstrates the age old tale of how the grass is not always greener on the other side. Our desire to capture something as fleeting as youth has dire consequences. We will have to live with our choices, and can you live with yourself after you have given every last bit of yourself away?
Both “Babygirl” and “The Substance” are refreshing feminist takes on fables. There are elements, some more subversive than others, of fairytales. These films reimagine the devises used in cautionary tales, and bring to life more layered, nuanced stories. While the endings vary, “The Substance” and “Babygirl” are sure to continue teaching lessons for years to come.