MOTHER MARY -- A Mesmerizing Duel Between Hathaway and Coel

Review by Chadd Clubine

Mother Mary is likely to stir the same kind of polarized reactions as films like mother! or The Last Jedi. Audiences may love it, dislike it, or feel indifferent—but whatever their initial response, many will hold onto it strongly, even as their perspective shifts over time. David Lowery returns to the striking visual language he explored in The Green Knight, but here he leans even further into it. Where that earlier film balanced imagery with clarity, Mother Mary fully commits to visual storytelling, transforming what might appear to be a simple narrative into something far more layered and elusive—especially with its pivotal midpoint revelation.

Facing stiff box office competition this weekend from titles like Michael and Over Your Dead Body, Mother Mary enters a crowded field with plenty of options for audiences. Still, for those seeking something visually striking and conversation-worthy, it stands out as the most compelling choice. Led by an all-star female ensemble, Anne Hathaway and Michaela Coel anchor the film with remarkable performances. Hathaway delivers one of the strongest turns of her career, while Coel commands attention with a truly standout presence. David Lowery carefully balances their characters, emphasizing the depth of their connection and how profoundly they rely on one another.
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David Lowery has quietly built one of the most eclectic filmographies of any working director. Few filmmakers move this fluidly between genres—territory typically associated with someone like Steven Spielberg—which makes Lowery feel all the more underrated by comparison. It’s also rare to see a male writer-director center a story so fully around an all-female cast, and Lowery approaches it with a clear sense of purpose. The film suggests a kind of artistic symbiosis: an artist cannot fully exist without their instrument. In this case, Hathaway’s character embodies the artist, while Coel’s serves as the essential counterpart—the “paintbrush”—through which that identity is realized.

In both its storytelling and visual language, Mother Mary feels like a quintessential A24 release. The film unfolds almost like a stage play, driven by the intricate dynamic between Hathaway and Coel’s characters. After the halfway point, it leans more heavily into metaphor, using striking imagery that may seem opaque at first but gradually reveals its meaning. Even when it risks confusion, the film remains utterly absorbing—it’s the kind of work you can’t look away from, completely captivated by what Lowery is accomplishing.

While the film boasts an impressive ensemble of actresses, it often feels like it might have been stronger had it focused more tightly on Hathaway and Coel. Lowery doesn’t always seem to fully utilize the surrounding talent, leaving much of the supporting cast feeling underdeveloped. In many cases, their appearances register more as extended cameos than fully realized characters. Hunter Schafer, for instance, has limited screen time, and her late monologue—clearly intended to land with weight—doesn’t resonate as strongly as it aims to in the film’s final moments. FKA Twigs primarily serves to move the narrative along, while Kaia Gerber feels somewhat underused, appearing more as a peripheral presence than an integral part of the story.

Overall, Mother Mary is at its strongest when it centers on Anne Hathaway and Michaela Coel. Lowery strikes gold with their dynamic, framing their relationship with a stage-like intimacy that gives the film its emotional core. Its visual language is equally compelling—often difficult to look away from—conveying rich thematic ideas without ever spelling them out. That approach won’t work for everyone; some viewers may find it distancing or be put off by the underdeveloped supporting characters. Even so, the film leaves a lasting impression, delivering something distinctive and resonant in a way that feels uniquely like Lowery’s.

Mother Mary is now playing in limited theaters. In theaters nationwide April 24th.

RATING: 4/5