Film Review – Mother Mary (2026)

      Mother Mary, 2026.

      Written and Directed by David Lowery.

      Featuring Anne Hathaway, Michaela Coel, Hunter Schafer, Sian Clifford, Atheena Frizzell, FKA twigs, Jessica Brown Findlay, Kaia Gerber, Alba Baptista, Isaura Barbé-Brown, Jeanne Nicole Ní Áinle, and Taylor Sieve.

      SYNOPSIS:

      Long-hidden wounds resurface when the iconic pop star Mother Mary reconnects with her estranged best friend and former costume designer Sam Anselm on the eve of her comeback performance. "This is not a ghost story," and it's also "not a love story." While neither claim is entirely accurate, it doesn’t indicate that this is merely a case of deceptive marketing from distributor A24, who is adept at dominating online conversations through such tactics. Mother Mary is crafted by writer/director David Lowery, suggesting these statements serve more as advice on how not to approach his newest film. There is indeed a visually captivating specter and hints of past romantic feelings, but to fully appreciate this narrative, one must explore what the filmmaker communicates about art through these themes.

      In what is admittedly not a wholly original approach, David Lowery seems to weave elements of his own experiences into the character of the titular fictional pop star, Mother Mary (Anne Hathaway), who seeks out her estranged fashion designer friend Sam (Michaela Coel, recently seen in a verbal exchange with Ian McKellen in The Christophers and proving her abilities here opposite yet another seasoned veteran) in search of a dress for her anticipated return concert, with a request for it to reflect a return to simplicity.

      For context, David Lowery frequently engages with the larger studio system amidst his more original or visually stunning accomplishments (notably The Green Knight and A Ghost Story, both among the finest films of their respective release years). He typically takes on live-action Disney remakes that, while not the lowest in quality from that creatively exhausted initiative, still lack vibrancy and soul (an exception could be made for Pete’s Dragon, where it seemed more as if Disney was indifferent to the property). I cannot assert knowledge of David Lowery's past experiences that might parallel Sam’s circumstances.

      The crux is that once Mother Mary (who rushes to London in urgent need of appropriate attire for this significant performance, visiting a cluttered home where much of the dialogue unfolds in a barn) engages in a dialogue about art and the artist with Sam, it becomes clear that the filmmaker is probing what that entails for the observer. Sam also highlights to Mother Mary that she invested part of herself into each of her costume designs. As the quintessential pop star diva, her relationship with Mother Mary deteriorated over time, yet she maintains a captivating hold over all who come in contact with her. Aware of her flaws, Sam still cannot decline this chance. However, their collaboration can only succeed in the same manner it always has: by digging deep into Mother Mary’s emotions and translating those into a dress.

      For Sam, this artistic endeavor is paramount. She shows no interest in hearing Mother Mary’s new single titled Spooky Action (while there are a few smooth transitions to concert performances, the songs penned by Charli XCX and Jack Antonoff are somewhat lacking, despite the dynamic presentation with visually striking costumes and halo headpieces). Consequently, when it's time to preview the dance routine for costume inspiration, Sam compels Mother Mary to perform it without music, prompting an intense physical expression that resembles possession (in a sense, spooky action). This unsettling scene showcases Anne Hathaway fully immersing herself in the experience while foreshadowing what comes later.

      Essentially, what unfolds are individual ghost narratives from both Mother Mary and Sam, gradually morphing the film into a surreal and hypnotic experience characteristic of the filmmaker, utilizing a creative interpretation of a ghost that intertwines with their connections to Mother Mary's art and themes. The film is somewhat lengthy in both halves (despite strong performances, the chemistry falters as Michaela Coel delivers a more theatrical performance while Anne Hathaway feels more grounded and fluid, able to convey vulnerability and signs of psychological distress), occasionally resulting in circular dialogue. While the use of a pop star as a messenger is not entirely novel, it remains challenging to fully engage with the notion of a musician named Mother Mary commanding global attention, especially since her songs elicit minimal response outside of a catchy finale.

      However, David Lowery excels at conveying his ideas and themes through mesmerizing visual storytelling and writing dialogue, making even slower or repetitive moments in Mother Mary worthwhile as it tells the tale of an artist rediscovering herself and confronting her past demons with polished, stylish direction. If this represents David Lowery’s interpretation of returning to basics, let’s hope he has purged his thoughts through his contributions to art. It is an artistic narrative and results in yet another visually captivating work from the filmmaker.

      Flickering Myth