The cinematic landscape is littered with ambitious failures, but David Lowery’s latest project sits in a league entirely of its own. Anne Hathaway's Mother Mary has arrived on the scene, immediately establishing itself as an ungodly mess of cinematic proportions. It is a deep dive into a pool of pretentiousness whose absurdity mounts with each new quasi-supernatural development.
The film operates as a dramatic two-hander between a global pop star and her estranged designer, played by Michaela Coel.
Before diving into the convoluted plot, we must acknowledge the spectacular real-world wardrobe. At the New York premiere on Monday night, Hathaway delivered a masterclass in naked dressing. She arrived draped in a custom Lever Couture gown composed of undulating swathes of shimmering sheer fabric. This ensemble was anchored by over $100,000 in Bvlgari Serpenti jewelry.
A brilliant wardrobe simply cannot save a sinking cinematic ship.
Despite the staggering budget reportedly hovering around $100 million, the on-screen execution feels remarkably hollow. Lowery fills the screen with excessive emoting, florid direction, and heavy religious symbolism.
The narrative tracks Mary seeking refuge in the rustic English barn of her former creative partner Sam. What follows is a face-off drowning in dramatic quicksand. Hathaway performs with relentless torment, drawing her speech out to the point of parody. Meanwhile, Coel attempts to anchor the dialogue with maximum portent, calling Mary a tumor in an ominous voiceover.
This psychosexual pop thriller boasts original music by Charli XCX and Jack Antonoff, alongside a routine penned by FKA twigs.
Unfortunately, the stellar soundtrack is overshadowed by staggering visual affectations. The director seemingly relies on flashy showmanship to mask a hollow script. We endure endless shots of people being suddenly drenched in heavenly light, interspersed with bizarre body twisting. It fuses surrealism with the high-tech gloss of the modern pop stage to minimal emotional effect.
The resulting cinematic spectacle is overwhelmingly tedious.
Stylist Erin Walsh certainly understood the assignment during the press tour. She smartly navigated Hathaway through a demanding schedule, contrasting the gothic pop-star aesthetic with Devil Wears Prada 2 promotions.
Hathaway previously stepped out for a listening party wearing a sheer fish-net dress from the Calvin Klein Collection fall 2026 runway. Scattered with black petals and styled with an oversized blazer worn like a cape, the look was striking. It is a shame that such off-screen curation could not be matched by the muddled narrative on screen.
A smart film might have found an intriguing parallel between Hathaway the movie star and Mother Mary the fading pop icon.
That intellectual depth is entirely absent from the final product. We are subjected to metaphorical chitchat about renewed acquaintances before the film succumbs to otherworldly symbolism. This includes Sam recounting a run-in with a specter resembling a floating piece of red fabric. Mary admits she has seen this very apparition during a séance conducted by FKA twigs.
It is an academic exercise completely drained of any dynamism.
The decision to situate the film primarily in a single location highlights the schematic construction of the script. The Miss Havisham-like barn becomes a claustrophobic trap for both the actors and the weary audience.
Even the supporting cast is criminally underutilized in this dour chamber piece. Kaia Gerber is barely given a chance to flex her impressive comic timing. Hunter Schafer makes a notably brief appearance as Hilda, rendering her role entirely superfluous. Sian Clifford provides the only genuine relief with hilarious reaction shots as Mary’s harried manager.
Ultimately, the picture lacks the crucial element of self-awareness required to elevate its preposterous concepts into camp.
Instead of a cult classic, audiences are left with an incomprehensible style experiment. The leads are forced into strained, insincere performances that fail to reveal any genuine tension. It is a colossal misfire that proves even the most magnetic stars cannot transcend a flawed vision. Heaven help anyone expecting a coherent journey from this headache-inducing disaster.
Frequently Asked Questions
When does Anne Hathaway's Mother Mary release in theaters?
The film hits theaters in the US on April 17, 2026. It will later release in the UK on April 24 and in Australia on May 14.
Who designed Anne Hathaway's premiere dress for Mother Mary?
Anne Hathaway wore a custom sheer gown designed by Lever Couture for the New York premiere. The dress was crafted from shimmering mesh ribbons to create an undulating, sculptural effect.
How much was the jewelry Anne Hathaway wore to the Mother Mary premiere?
The actress wore Bvlgari Serpenti jewelry valued at over $100,000. The set included exquisite diamond and emerald pieces set in 18kt white gold.
Who directed the movie Mother Mary starring Anne Hathaway?
The psychological pop thriller was directed by David Lowery. He is known for his previous ambitious cinematic works like A Ghost Story and The Green Knight.
Which pop stars wrote music for the Mother Mary soundtrack?
The original soundtrack features distinct musical contributions from Charli XCX, Jack Antonoff, and FKA twigs. These artists helped craft the authentic pop sound for Hathaway's fading diva character.
