‘The Substance’ Hair Boss Reveals She Was Ousted From Oscar Nomination In Favor Of Assistant
Days before the Oscars, a war of words has broken out between two key below-the-line workers over the credits on The Substance.
Frédérique Arguello, who was head of the hair department on the Demi Moore-led horror movie, claims she was passed over for an Oscar nomination in the Achievement in Makeup and Hairstyling category in favor of her assistant Marilyne Scarselli.
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Scarselli, alongside special makeup effects designer Pierre Olivier Persin and key makeup artist Stéphanie Guillon, are listed by the Academy of Motion Picture Arts and Sciences as the official nominees in the category, one of five overall noms for the horror movie written and directed by Coralie Fargeat.
However, Arguello claims that despite the best efforts of distributor Mubi to include her, she was shunned from the list.
It comes as The Substance is one of the favorites to win the category, going head-to-head against A Different Man, Emilia Pérez, Nosferatu and Wicked.
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“I worked on the creation of the hairstyles and, because it was a small crew, there was only myself as a key hair person and my assistant Marilyne,” Arguello told Deadline, speaking from her home in France. “She called me right before the shooting started, looking for work, and I hired her [as my assistant].”
Arguello said she worked on the film for five months before she had to leave the set due to “family and health reasons,” leaving Scarselli in charge for shoot’s final three weeks. “It was almost the ending of the movie. There was only the sequences with the Monstro Elisa-Sue, so I had already done all the creations for the hairstyles,” Arguello said.
The issue is further complicated by The Substance‘s different credits in the same category at the BAFTA and Critics Choice awards. The film won at both ceremonies, with Arguello a winner at Critics Choice alongside Guillon and Persin, and at the BAFTAs alongside Guillon, Persin and Scarselli.
The film’s hair and makeup teams also were nominated at the recent Make-Up and Hairstylists Guild Awards, with Guillon winning for Contemporary Make-Up and Pierre-Olivier Persin for Special Make-Up Effects. Arguello had a MUAHS nom for Contemporary Hair Styling.
Earlier this week, Arguello detailed her work in French newspaper Le Figaro. “When I read the script where Demi Moore goes through four phases of physical degradation, I immediately imagined very graphic hairstyles. First, long, beautiful black hair that contrasts with the immaculate white of her bathroom. Then when she starts to lose her hair, I imagined a wig where you have the impression of seeing her skull. Finally, when she transforms into a monster, her hair is plastered under the prosthetics and makeup,” she said.
Speaking to Deadline, Arguello said she believed there was not much further work remaining after her departure. “There was only continuity that had to be done … And [Scarselli], at that time, took my place on the call sheet as the key hair, only for 15 days, three weeks,” she added. “I’ve got all the proofs that I was not only the hair designer, but I’m the one who was the key hair for five months, compared to her that was a key hair for the last three weeks I wasn’t there.”
Scarselli presents a different version of events in which the talent worked primarily with her, rather than Arguello. “After one month of shooting, [Arguello] made a mistake on the wig for Demi Moore,” she told Deadline. “After this accident with the wig, Demi Moore doesn’t want to work with her anymore. I am on the set, so I do the hair for Demi Moore [for the rest of the production].”
Although she was not the designer, Scarselli said she was promoted to key hair after Arguello left the production. “It’s really uncomfortable and I’m really so sorry for her, but I think I am at my place too at the Oscars, because I was doing the job too,” she added. “I’m not the designer, I’m not in the prep, but I’m here doing the job on the hair on Demi.”
Deadline understands The Substance’s writer-director Fargeat sent a letter to the Academy regarding the decision to put forward Scarselli’s name rather than Arguello’s.
Mubi has confirmed that Fargeat did send a letter, but didn’t disclose its contents. A spokeswoman for the company told Deadline that the Academy, rather than the filmmakers, made the decision to select Scarselli. “The Oscars limit nominations to three names, and after their determination process, they decided to honor the work of Pierre [Olivier Persin, special makeup effects designer], Stéphanie [Guillon, key makeup artist] and Marilyne,” she said.
Deadline understands that each year the Academy’s Makeup and Hair Branch Executive Committee go through a thorough review to make a determination based on material submitted by the production and those involved in the work. However, a maximum of three artists are allowed to be selected and determinations are made by a private vote.
Arguello told Deadline that she was trying to be “discreet” about the issue, days ahead of the ceremony on Sunday. “I didn’t want to make a drama about this,” she said. “I’ve been trying to correct this, talking to people, and they just told me they can’t change it anymore, so I just felt like I had to say it out loud.”
Earlier this week, Arguello detailed the issue on Instagram. “I held the position of head of the Hair Department on the film The Substance for five months, covering both the creation and the shooting phases. However, on January 23rd, I was shocked to discover that my contribution in the hair and makeup category for the Oscars had been unjustly erased in favor of my assistant Marilyne Scarselli. Since then, I have been striving to set the record straight and reveal this undeniable material error. To this day, the situation persists as the Oscars ceremony approaches. Marilyne Scarselli continues to publicly claim a role that neither reflects her actual involvement nor her level of responsibility, thus depriving me of a prestigious distinction to which I am rightfully entitled. I am continuing my efforts and will keep you informed of any developments. I want to thank everyone for the support I am receiving during this ordeal.”
The Substance, which broke out at the Cannes Film Festival last May, is also up for Best Picture, Best Director and Original Screenplay for Fargeat and Moore for Best Actress.
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