This year has seen a resurgence of films that walk the line between high art and lowbrow entertainment. These movies, often labeled as "elevated trash," blend elements of classic exploitation films with a polished aesthetic and nuanced storytelling. While they may not always delve deep into complex themes, these productions offer a unique blend of visual appeal and entertaining narratives, appealing to both critics and casual viewers alike. Two standout examples from this trend are The Substance and Babygirl, which have garnered significant attention for their provocative content and refined execution.

Elevating the Unconventional: The Substance's Unique Blend

The Substance, directed by Coralie Fargeat, is a darkly comedic body-horror film that explores societal beauty standards and female expectations. It features Demi Moore as Elisabeth Sparkle, a fading Hollywood star who experiments with a drug that creates a younger version of herself, Sue (Margaret Qualley). The film's visual style and thematic depth give it an air of prestige, while its grotesque imagery and offbeat humor align it more closely with classic trash cinema. This juxtaposition makes The Substance a standout example of elevated trash, offering audiences a film that is both visually stunning and thematically layered.

At its core, The Substance is a critique of Hollywood's obsession with youth and perfection. The movie uses its graphic visuals and exaggerated plot twists to highlight the absurdity of these pressures. Despite its heavy-handed approach to certain themes, such as sexism and aging, the film remains engaging and thought-provoking. Its blend of high-budget production values and trashy elements allows it to appeal to a broader audience, making it a prime candidate for critical acclaim and potential awards recognition. The film's 141-minute runtime further emphasizes its ambition, adding to its prestige factor without detracting from its entertainment value.

Artfully Constructed Thrills: Babygirl's Complex Appeal

Babygirl, directed by Halina Reijn, tells the story of Romy (Nicole Kidman), a powerful CEO involved in a power dynamic with Samuel (Harris Dickinson), her much younger intern. The film delves into thorny gender and sexual politics, but it also offers moments of pure, unapologetic indulgence. Kidman's performance is layered and vulnerable, bringing depth to a character that could easily be dismissed as one-dimensional. The film's combination of highbrow references and salacious content positions it as a prime example of elevated trash, straddling the line between serious drama and guilty pleasure.

While Babygirl shares similarities with mainstream romances, it distinguishes itself through its artful construction and nuanced performances. The film's exploration of power dynamics and sexual politics adds a layer of complexity that elevates it above typical cross-generational love stories. Yet, it retains enough of the trashy elements—such as explicit scenes and provocative imagery—to remain entertaining and accessible. This duality allows Babygirl to appeal to both discerning critics and casual viewers, making it a standout in a year dominated by sequels and familiar properties. Ultimately, elevated trash films like Babygirl provide a refreshing alternative to more cerebral fare, offering all the pleasure without the guilt.