Demi Moore Says Nude Scenes In New Body Horror Flick Required 'Mutual Trust'

Demi Moore is proud of wrangling the “vulnerability and rawness” her latest role required.

The 61-year-old “Striptease” (1996) actor stars opposite Margaret Qualley in “The Substance,” a feminist body horror flick that just premiered at the Cannes Film Festival.

When asked how she managed to pull off the film’s nude scenes — some of which also involve violence — Moore credited her 29-year-old co-star.

“It was a very vulnerable experience and just required, I think, going into it with a sensitivity and a lot of conversation,” she said at the press conference for the film Monday. “I think finding that common ground of mutual trust [helps].”

“And I had someone who was a great partner who I felt very safe with,” Moore continued. “And we obviously were quite close in certain moments, naked, and it allowed us also a lot of levity … at how absurd those certain situations were, with us lying on the tile floor.”

Moore added that it’s “ultimately” about “communication and mutual trust” on sets like “Substance,” which tackles themes of envy and longing for youth. In the film,  she plays an aging celebrity who resorts to a fictional drug to clone herself as a younger, prettier version — which leads to horrific, unintended consequences.

Director Coralie Fargeat, whose feature-length debut film “Revenge” (2017) tackled similar issues, recently told Variety that body horror is “the perfect vehicle to express the violence all these women’s issues are about” in wake of the #MeToo era.

The premiere reportedly earned Cannes’ longest standing ovation this year at 13 minutes.

Qualley (left) and Moore at the “Substance” premiere at Cannes on Sunday
Qualley (left) and Moore at the “Substance” premiere at Cannes on Sunday Andreea Alexandru/Invision/Associated Press

As the film progresses, Moore’s character is increasingly disfigured by Qualley’s — and ends up as an abomination of her own making.

“It’s almost like I’m watching myself in a slightly removed way,” she said Monday about the prosthetics. “It’s strange, there were days, after six to eight hours of makeup, I could see my eyes and know it was me but, the best part is my little dog … always recognized me.”

Moore added that, while it required a deep “willingness to expose” herself “emotionally and physically,” she emerged from the shoot “in greater acceptance” of her own body. For Fargeat, the film is merely “a little stone in the huge wall” that feminists “still have to build.”

“I hope my film will also be one of the stones of that wall,” she told Variety on Thursday. “That’s really what I indexed to do with it. To me, I still feel like we need a bigger revolution regarding all this and we are clearly not there yet.”