In David Lowery’s latest A24 endeavour, the supernaturally laced musical thriller Mother Mary, we are thrust into the dizzying, darker edges of modern superstardom and artistic collaboration. It’s an ambitious swing that attempts to dissect the toxic alchemy of fame and fractured relationships, producing an experience that is as mesmerising to look at as it is occasionally frustrating to parse.
The narrative centres on a tense reunion between sad-girl pop idol Mother Mary (Anne Hathaway) and her estranged former designer, Sam Anselm (Michaela Coel). Showing up unannounced just days before a massive Sunday headline show, Mary begs Sam to create a bespoke dress for the performance. Despite years of bad blood and unspoken grievances, Sam reluctantly agrees, asking Mary to pour her raw emotions into the creative process.
What begins as a fraught attempt to reconnect quickly spirals into a supernatural haunting. As the two women dig into the bitterness of their shared past, they find themselves tormented by a mysterious red, fabric phantasm that seems to bind them together. It’s a fascinating, ghostly premise that literalises the pain of their history.
Lowery litters the film with his trademark real world/supernatural crossover from A Ghost Story, while infusing the film with emotional arcs and longing showcased in his adaptation of Pete’s Dragon, two wildly different films from this director’s previous work, are clearly an influence here.
The undisputed anchor of the film is Hathaway, who delivers an absolutely incredible performance as the titular pop icon. Hathaway fully commits to the chaotic orbit of Mother Mary, capturing both the magnetic stage presence required of a global superstar and the quiet, terrifying emptiness lurking behind the curtains. She is unapologetically unhinged and vulnerable in equal measure, commanding the screen whenever she’s on it.
Equally matching Hathaway’s energy is the music. With original tracks co-penned by Charli XCX, the film boasts an undeniably infectious soundtrack. The songs (particularly the haunting, hyper-pop banger “Burial”) aren’t just window dressing; they feel entirely authentic to the current music landscape. Charli XCX’s signature sensibilities bleed into the film’s DNA, providing an electric pulse that keeps the energy high, even when the plot begins to dip.
Visually, Mother Mary is striking. The production leans heavily into dark and moody sets that create a deeply atmospheric, almost suffocating world. Every neon-lit hallway and cavernous, shadow-drenched arena serves to isolate the characters, perfectly externalising the film’s central themes of alienation.
Yet, for all its sonic brilliance and beautiful atmosphere, the film occasionally stumbles under the weight of its own ambition. The narrative surrounding Mary and Sam’s haunting sometimes takes a backseat to the intense sensory overload. It leaves you wishing there was just a bit more narrative meat on those beautifully backlit bones. I would even argue it is really important to know that there is a supernatural twist to this film, so if you are going in expecting a pseudo pop star biopic, you may be disappointed. The film feels like it has a lot to say about fame and celebrity, but never quite reaches its grand ambitions.
Mother Mary isn’t a flawless masterpiece, but it’s a fiercely stylish spectacle. Thanks to Hathaway’s powerhouse turn, a killer soundtrack, and a deliciously dark aesthetic, it’s a concert worth attending, even if the encore leaves you wanting slightly more.
Mother Mary is in cinemas May 14.
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