Allow me to be straightforward. “Mother Mary” is the kind of film that feels like an experience first and a story second.
I could stop there but, I won’t.
Let me explain.
This “psychosexual pop opera,” directed by David Lowery, leans heavily into mood, symbolism, and spectacle. Sometimes it works; more often, it doesn’t.
Visually, the film is striking. It is dark, surreal, and at times unsettling. The ambition is undeniable. Lowery seems intent on dissecting fame, identity, and artistic obsession, asking how much of oneself must be sacrificed for stardom.
That said, the film often feels overly theatrical and dialogue-heavy, drifting into long stretches of abstraction that may leave viewers more puzzled than moved.
At the center is Anne Hathaway, who fully commits to the role of a troubled global pop icon on the brink of a comeback. Her performance is magnetic, especially in the musical sequences, with songs crafted by Jack Antonoff and Charli XCX adding an ethereal, often haunting layer.
Opposite her, Michaela Coel brings emotional weight as the estranged friend whose reappearance reopens old wounds.
Their chemistry is palpable, even if the film holds back from fully exploring the intimacy it hints at.
Its arrival on this side of the world carries a broader context. Distributed locally by CreaZion Studios, “Mother Mary” forms part of the company’s #KwentoMoTo initiative, an effort to bring “human stories and human experiences” to Filipino and Southeast Asian audiences. The push reflects a clear strategy: champion bold, conversation-starting cinema over safer mainstream fare, bridging global storytelling with local viewers.
Truth be told, not everyone will connect with “Mother Mary’s” cryptic storytelling, and its use of religious imagery may raise eyebrows. Still, there’s something admirable in how boldly it swings. Whether it lands will depend on your tolerance for art that prioritizes feeling over clarity.
One thing’s certain: it’s not forgettable.
“Mother Mary” hits theaters April 22.
