Mother Mary Review

It’s been almost a decade since David Lowery directed A Ghost Story. Mother Mary is very much cut from the same cloth. That’s not to say there aren’t some significant differences. A Ghost Story had minimal dialogue, almost playing like a silent picture. Mother Mary not only has long stretches of dialogue, but songs as well. It’s not quite a musical, but Mother Mary similarly operates in a loose reality. While the at times lavish Mother Mary differs aesthetically from the stripped down Ghost Story, they complement each other thematically. Both are about emotional distance, the struggle to move on, and spirits that haunt us even if we can’t see them.

Anne Hathaway plays Mother Mary, a pop singer with a wardrobe as flamboyant as Lady Gaga’s, although her following may be even more devout. Bina Daigeler’s costume design practically tells its own story. Mary suddenly becomes uncomfortable in her dresses, as well as in her own skin. She seeks out Michaela Coel’s Sam Anselm to design her a new dress in time for a crucial comeback show. While Mary and Sam have a history together, it’s never spelled out exactly how deep their connection runs. Perhaps it was friendship, but maybe their feelings are even stronger than that.

Either way, Sam resents Mary for what happened in their past. It’s not as if Sam is merely jealous of Mary’s rise to stardom. Sam may work more behind the scenes, but she’s still a famous fashion designer. She even has an assistant played by Hunter Schafer. Sam nonetheless feels that Mary abandoned her for a pop persona that she helped create. Both are living with scars that range from literal to figurative. Likewise, the two find that they have more than old wounds in common. As Sam recounts a dream she had, Mary brings up a similar experience, leaving them to wonder if they’re being followed by a force sewn into the fabric of their fractured relationship.

Walking out of Mother Mary, I wasn’t entirely sure whether the film was more supernatural or psychological. Maybe that’s by design, although it could also be because Mother Mary meanders at times, getting lost in its own conversations. At nearly two hours, it’s not as tight as A Ghost Story, but Lowery’s latest film is nonetheless a transcendent journey. One that’s as visually striking as it is thought-provoking, even if some sequences could’ve used some trimming.

It’s ironic that Lowery’s films often tackle emotional distance, as the audience can sometimes feel distance from the stories he tells. A Ghost Story is certainly a film that people either loved or loathed. It’s hard to say if Mother Mary will be more or less divisive. For those who are fans of Lowery’s work, though, it’s hard not to admire the swings he takes here. It’s also impossible not to be in absolute awe of the performances from Hathaway and Coel, who make for one of the most compelling onscreen pairings you’ll see all year. Above all else, Lowery knows how to make effective use of clothing, be it a red dress or a white sheet.