Mother Mary: Movie Review

Cast: Anne Hathaway, Michaela Coel, Sian Clifford, FKA Twigs, Alba Baptista
Director: David Lowery

Bizarre, bewildering and bewitching in equal measure, A Ghost Story's David Lowery turns his attention to a psychodrama between a pop star and her former stylist.

In search of a comeback outfit to relaunch her, Mother Mary (Hathaway, haunted and hesitant) ends up on the doorstep of Sam (Coel, blistering and mesmerising). However, before she arrives, Sam knows she's on her way, declaring her a "carcinogen, a tumour" - it's clear there's some malignant history between the pair. It's further exacerbated when a glacial Sam frostily takes on the job of the fashion emergency, picking at scabs of the past and the evident fallout.

But as the pair discuss their past and what future they may have, it soon becomes clear there's an unearthly connection between them which simply won't let go.

There's plenty of style abounding in this, with Lowery disclosing flashes of almost Strickland-esque level visual flair and channeling elements of Phantom Thread and Corsage for good measure. But while the film's first half is largely confined to an expansive two-hander set in Sam's designing barn ("I'm going through my Miss Havisham phase" she gleefully announces), the second transcends into something else entirely.

Lady Gaga-esque performances, a stock Ouija board horror moment, elements of body horror and possession all contort into something entrancing, albeit not entirely coherent. Yet there's no denying you can't ever take your eyes off the screen, even if it's because they're agog in incredulity at what's playing out.

Coel is exceptional here, taking charge of the piece and delivering a commanding performance that is swathed in contempt, scorn, bitterness and seething with anger at how she was treated for the looks she initially created for Hathaway's Mother Mary. It's a powerhouse act that's counterbalanced by a more meek and understated Hathaway who delivers the extravagant pop spectacle scenes with almost choreographed stiltedness, but is watchable nonetheless.

It's never entirely clear what Mother Mary is trying to say though. Is it a supernatural piece? Is it about birthing the creation from within? Is it about the bonds creatives and their artists share?

Lowery's not saying and it may all be dismissed as utterly preposterous. But while it's enigmatic edges frustrate, there's no denying this Mother Mary, no matter how contrary, is unlike anything you've seen on the big screen.