A pop star needs a makeover in ‘Mother Mary’ but one dress keeps getting in the way

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Brady Corbet’s 2024 film, “The Brutalist,” cleverly used buildings and their construction to represent the challenges of making movies in Hollywood – the hard work, the desire to create something grand and personal, and the reliance on those who fund the project, even if they don’t truly value the artist. David Lowery’s “Mother Mary” feels like a similar exploration, but instead of Hollywood, it uses the world of pop music to show the risks and difficulties that come with creative partnerships.

Creating art on a large scale usually involves a team, which can unfortunately lead to feelings of being overlooked or unappreciated among those involved. In “Mother Mary,” Lowery delves into this dynamic, proposing that these negative emotions can actually fuel creativity – turning personal hurt into something beautiful. It’s a complicated, human process that’s often messy but ultimately rewarding.

“Mother Mary” is a wildly imaginative and dramatic pop opera, but at its heart, it’s a contained, intimate film focused on a conversation between two captivating actors. They deliver lengthy, emotionally charged accusations and slowly reveal hidden secrets.

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Pop superstar Mother Mary, played by Anne Hathaway, unexpectedly arrives at the home of Sam Anselm (Michaela Coel), a fashion designer she used to work with. Soaked and desperate, Mary asks Sam to create a gown for her upcoming comeback show. Although Sam is still hurt by their past falling out, she agrees to help, leading to a tense fitting in an old barn where both women will be forced to confront their unresolved issues.

Sam finally lets loose, sharing a long, emotional story about their shared history, while a crying Mary adds a few details. The scene cuts back and forth between concert footage and memories, which the women watch as if they’re happening on a stage. Mary dances, and Sam reveals she hasn’t listened to Mary’s music in years, speaking with bitterness towards her old friend.

The slow build becomes frustrating, making you wish Lowery would just get to the main story. Then, unexpectedly, he reveals it’s a ghost story about possession. However, the unsettling tone was established early on with blurry footage of a disturbing event and a warning that the opening song, Mother Mary’s “Burial,” is supposedly cursed.

The movie shifts gears from its intimate character moments to the spooky, genre thrills it initially hinted at when Sam and Mary realize they’ve both seen the same terrifying ghost—a horrifying red figure. This spirit takes hold of Mary during a birthday séance led by a friend named Imogen (FKA twigs), and she finds she can’t get rid of it.

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The film’s eerie, red-tinged ghost is reminiscent of Peter Strickland’s 2018 film “In Fabric,” where Marianne Jean-Baptiste is haunted by a possessed red dress. It also brings to mind Luca Guadagnino’s remake of “Suspiria,” which features unsettling dance sequences and disturbing imagery of the body.

I’ve been thinking about how this film reminded me of David Lowery’s ‘A Ghost Story,’ which really explores how the past stays with us. But honestly, the comparison that kept popping into my head was ‘Smile 2,’ with Naomi Scott – that one was really in your face with the horror! While ‘Mother Mary’ is definitely more thoughtful and atmospheric, ‘Smile 2’ was just bolder and made more sense. The new single is called ‘Spooky Action,’ which is a fun title, but the movie itself doesn’t really deliver on that promise – it’s not as scary or action-packed as I expected, even with a few gruesome scenes.

Lowery focuses on the dynamics between artists and the power imbalances that come with large-scale creative projects. The film benefits from a talented team of collaborators, including stunning visuals by Andrew Droz Palermo, original music by FKA twigs, Jack Antonoff, and Charli XCX, and a compelling score by Daniel Hart.

The film is visually captivating, but the story gets lost in style and relies too much on Anne Hathaway’s over-the-top performance. Both lead actresses are incredibly talented – Michaela Coel is mesmerizing on screen, and Hathaway could have been a pop star if she’d chosen a different path. Her scenes as Mother Mary singing are fantastic and stand out, making you wish the movie itself moved with the same energy.

Katie Walsh is a Tribune News Service film critic.

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2026-04-17 13:32