The Academy’s Long Overlook of Horror: Is "The Substance" a Turning Point?
Demi Moore’s recent Critics Choice Award win for her performance in the body-horror film "The Substance" has reignited a long-standing debate: the Academy Awards’ consistent snubbing of the horror genre. In her acceptance speech, Moore pointedly thanked voters for recognizing a horror film, highlighting the tendency to overlook the genre’s potential for depth and artistry. This sentiment resonates deeply with many horror aficionados who have long felt that the Academy’s biases have prevented deserving films and performances from receiving the accolades they deserve.
The author of this article, echoing Moore’s sentiment, recounts predicting Moore’s Oscar win to a fellow entertainment journalist who responded with incredulity, a reaction born from the perception that gnarly body-horror is simply not Academy material. However, the author believes that Moore has a legitimate shot at winning, and the film’s surprisingly robust five nominations, including Best Picture, signal a potential paradigm shift for the genre.
The historical record paints a clear picture of the Academy’s reluctance to embrace horror. In the nearly 100-year history of the Oscars, only seven horror films have ever been nominated for Best Picture: "The Exorcist," "Jaws," "The Silence of the Lambs," "The Sixth Sense," "Black Swan," "Get Out," and now "The Substance." Tellingly, "The Silence of the Lambs" remains the sole winner.
While the acting categories have seen some horror recognition, with wins for Kathy Bates in "Misery" and Natalie Portman in "Black Swan," the author laments the numerous phenomenal genre performances that have been overlooked in recent years. From Toni Collette’s devastating turn in "Hereditary" to Lupita Nyong’o’s chilling duality in "Us," Florence Pugh’s emotionally raw performance in "Midsommar," Mia Goth’s mesmerizing portrayal in "Pearl," and Elisabeth Moss’s unsettling presence in "The Invisible Man," the list of deserving but unrewarded performances is extensive.
This trend stems from a deeply ingrained stigma that views horror as inherently less prestigious than other genres. The rise of the term "elevated horror," often applied to thought-provoking and layered films like "Get Out," exemplifies this condescending attitude. The label implies that horror needs to be "elevated" to be worthy of serious consideration, despite its long history of exploring complex and socially relevant themes, dating back to George Romero’s "Night of the Living Dead." The Academy’s history of horror snubs strongly suggests that this prejudice persists within the organization.
Beyond the genre bias, horror also faces the challenge of being a divisive genre. Many viewers simply dislike being scared or are averse to graphic violence. While individual preferences are understandable, the author argues that Academy voters, tasked with recognizing outstanding achievements across the industry, should not allow personal aversion to dictate their judgment. They should be able to evaluate films and performances based on their artistic merit, regardless of genre.
The author points out that the horror films that have received Best Picture nominations tend to be lighter on gore and scares, to the point where some argue that they aren’t true horror films. "The Silence of the Lambs" is often considered a crime thriller, while "Jaws" could be categorized as an adventure movie. Even Jordan Peele described "Get Out" as a "social thriller." This suggests that the Academy is more willing to embrace films with horror elements if the "horror" label can be downplayed or removed entirely.
This is why "The Substance’s" Best Picture nomination is so significant. There is no denying that the movie is horror. Unlike "The Sixth Sense" or "Get Out," which can be recommended to a broader audience, "The Substance’s" graphic and disturbing content requires a strong warning before recommending it to horror skeptics. It’s a body-horror film in the vein of David Cronenberg’s "The Fly," which, despite its brilliance, was snubbed in every Oscar category except Best Makeup.
However, times are changing. The Academy has demonstrated a growing receptiveness to unconventional genre films in recent years. The Best Picture wins for "The Shape of Water," a film about a woman who has a relationship with a fish creature, and "Everything Everywhere All at Once," a wacky sci-fi comedy featuring a butt plug fight scene, would have been unimaginable in the past. The five nominations for "The Substance" indicate that this newfound openness may be extending to horror.
The author acknowledges that "The Substance’s" breakthrough is likely due more to Demi Moore’s compelling personal narrative than to the film’s horror elements. Moore has long been perceived as a "popcorn actress" unworthy of awards recognition. The Academy loves an underdog story, and the desire to finally recognize Moore’s talent may be strong enough to encourage voters to watch "The Substance," even if they would normally avoid horror films.
The uphill battle for horror recognition is further illustrated by Lily-Rose Depp’s lack of awards buzz for her physically demanding performance in "Nosferatu" and Naomi Scott’s breathtaking portrayal of a pop star descending into madness in "Smile 2." Bringing up these films in the context of the Oscars is often met with derision.
Furthermore, the Academy’s preferential balloting system, where members rank nominees from best to worst, poses a significant challenge for horror films. This system favors broadly appealing films that rank highly on most ballots, while punishing divisive films that many voters place at the bottom. Given horror’s inherently divisive nature, winning Best Picture will always be an uphill battle.
In conclusion, the author, a self-proclaimed defender of the Oscars, expresses hope that the Academy will evolve to recognize great work regardless of genre. If Moore wins her Oscar, it would be a poetic victory, pushing the organization towards celebrating an often overlooked genre and proving that artistic merit can triumph over prejudice. Such a shift would significantly strengthen the legitimacy and relevance of the Academy Awards.
