Mother Mary Review
It really did feel like Mother Mary almost came out of nowhere given how many films were releasing this month. It felt a bit hard keeping track of every film, especially with how big April is for movies (not already considering CinemaCon.) So, when A24 dropped the trailer for Mother Mary a few weeks back, the only question that was on my mind was, “Why did they only drop it now?” Its visual style and mystique aesthetic slightly answered that question as its experimental looks could have confused general audiences. However, after taking time to sit with Mother Mary, I can’t help but peculiarly admire what director David Lowery wanted to accomplish.
Mother Mary follows two former best friends: fashion designer Sam (Michaela Coel) and former pop star Mary (Anne Hathaway). Preparing for her comeback tour, Mary is trying to find the perfect dress to wear, which leads her back to Sam’s doorstep. However, unsaid things and long-buried secrets have created this emotional divide between Mary and Sam, resulting in the two distancing themselves from each other. Now, the former friends must try to reconcile with each other, all while trying to solve a darker mystery that lingers over both of them.
It should go without saying that Mother Mary is not for the faint of heart, at least narrative-wise. It’s all about making amends and understanding the action and nature of former friends. However, Lowery brings his story, which has been re-edited for the past seven years, in a way that feels compelling. Although the film focuses on exploring that process, Lowery and his team incorporate this ethereal overtone, both on-screen and in the dialogue, that makes this entire film stand out.
That opening sequence that sees Sam’s overly-imaginative narration of their broken friendship will definitely reel viewers into this unique situation. However, as you’re gradually pulled into the misdirections that Sam guides Mary on, you can’t help but feel this oddness to them. Sam’s idiosyncratic, if slightly devious, idealisms clash with Mary’s more down-to-earth, if hollow, personality in these moving moments. There’s a specific scene in the second act where Mary tries to understand why Sam’s accepted moving on from their friendship, leading to a heated situation that’s almost a bit intimate. Enhanced by Hathaway and Coel’s impeccable acting, these scenes were very impressive.
The singular set-esque format of Mother Mary also works in bringing out the soul of Lowery’s vision. At moments, it can feel like the film turns into a play of its own, putting Sam and Mary’s lives on their own stages quite literally. There’s these montages near the third act about Mary’s rise and downfall and Sam’s encounter with this mysterious force that add to the dramatics of this film. The sparkling limelights and the brooding, grim cinematography also make these scenes feel almost puppet-like in a twisted manner. If Lowery wanted to emphasize the internal and external pressures that Sam and Mary had to maintain separately, he did a great job doing so.
Additionally, Jack Antonoff and Charli XCX’s original songs really blend well with Daniel Hart’s mystifying soundtrack, adding to Mother Mary’s surrealness. If The Moment was a recollection of Charli XCX’s stardom, then her work here highlights the uniquely supernatural element of the grandeur of stardom. Each song and track has this religious and angelic undertone that fits the “Mother Mary” persona of the character. As the film progresses and Sam and Mary dig deeper into one another, this soundtrack just gets a hold of you in a way that keeps you hooked.
Mother Mary is also filled with so much symbolism and avant-garde concepts that might be hard to wrap your head around. The connection between Sam and Mary is presented through this red, ghastly fabric that’s eventually woven into Mary’s dress, but really has a life of its own. It’s like an angelic siren, calling upon Sam and Mary to reunite despite its terrifying and soul-grabbing methods. This unusual force is only just one of the many sights and sounds that serve as pieces to the larger puzzle of Sam and Mary’s relationship.
Lowery’s vision for his most unique film yet might also be a bit stretched out. Most of the one-on-one scenes with Sam and Mary are good because of Coel and Hathaway’s grounded chemistry. Yet, it can feel like some scenes nail in the point a bit too much where it can tire out the viewer. They’re specifically relegated to the middle of the second act, but Lowery and his team seem to counter this by extending that light psychosexual intimacy in the first and final acts. To put it simply, Mother Mary feels like a thematically darker and way more personal version of The Devil Wears Prada (which almost seems fitting this year!)
Mother Mary is David Lowery’s most thematically avant-garde and thought-provoking film yet. Its deep, psychosexual themes are elevated thanks to Anne Hathaway and Michaela Coel’s moving performances and a brooding audiovisual blend that captivates.
Rating: ★★★★☆
Mother Mary releases in theaters on April 17.
_
Christopher Gallardo is a freelance entertainment writer and critic. While not running The Reel Roller, Chris can be found writing reviews and breakdowns on all things films and TV. Outside of entertainment writing, he’s currently taking classes for a Bachelor’s of Science with a minor in Digital Media & Journalism. Plus, he loves Percy Jackson, animated films and shows, and Fallout! Follow Christopher on Instagram & X.