David Lowery doesn’t shy away from ambitious filmmaking. His latest,Mother Mary, is a bold collision of genres – a pop concert spectacle, a raw relationship drama, a gothic fantasy, and unsettling body horror all woven into one. It’s a film designed to provoke, to challenge, and, perhaps inevitably, to divide audiences.
At the heart of the story is Anne Hathaway, portraying Mary, a celebrated musician on the cusp of a major comeback. She desperately needs a dress, a creation from her estranged friend and former collaborator, Sam, played by the equally captivating Michaela Coel. This simple need ignites a tense and emotionally charged reunion.
The film seamlessly shifts between dazzling stadium performances – featuring original songs penned by Charli XCX, Jack Antonoff, and FKA twigs – and intimate, claustrophobic scenes within a secluded barn. This space is haunted not only by the ghosts of Mary and Sam’s shared past, but by something far more unsettling.
Reactions have been sharply polarized. Some viewers have foundMother Marybaffling, even disastrous, while others have been utterly bewitched by its originality and mesmerizing strangeness. Yet, Lowery himself appears remarkably unfazed by the critical divide.
“I definitely want everyone to love my movies; I’m a people pleaser,” Lowery admits, acknowledging the inherent contradiction in his artistic approach. “But I also want to make films that push boundaries, and I know those won’t be for everyone. When I make something like this, I focus on expressing my vision, trusting that at least one other person will connect with it – hopefully more!”
He embraces the idea that appreciation is subjective. He reflects on the films he himself doesn’t adore, yet still respects their creation. “I hope, at the very least, if someone doesn’t connect with this film, they can appreciate the intent behind it.”
Lowery believes the cultural landscape has shifted, making audiences more receptive to unconventional work. “There’s an audience ready for this movie in a way there wasn’t 10 years ago,” he observes, highlighting a growing appetite for daring and original storytelling.
The director openly admits to a constant internal struggle: the desire to push creative limits versus the pressure to appeal to a wider audience. He jokingly describes these conflicting impulses as “imposed entirely on myself.” He acknowledges the value of more commercial projects, pointing to his work on Disney remakes likePete’s DragonandPeter Pan & Wendy.
“Sometimes, that’s just what you need to get a movie made,” he explains. “But I’d be heartbroken if that was *all* that was made.” He’s grateful to have a creative outlet for projects likeMother Mary, finding a supportive home for his vision with A24, a studio increasingly recognized for championing unique and high-quality films.
Lowery emphasizes that his decision to take on the Disney remakes wasn’t simply a “one for me, one for them” trade-off. He was drawn toPete’s Dragonspecifically because it resonated with him personally, a project he didn’t want to see fall into other hands. He even considers it, at its core, an original film borrowing only a title.
He praises Hathaway and Coel for elevating his script, transforming words on the page into something extraordinary. “It was incredibly gratifying, and humbling, to watch them enrich the material beyond anything I could have imagined.”
The role of Mary, he notes, demanded a unique combination of acting prowess, physical performance, and vocal ability – a challenge he believes Hathaway met with exceptional grace. He describes it as a role existing “on the Venn diagram betweenLes MisandRachel Getting Married.”
But even with his high expectations, Hathaway surpassed them. “Watching her performance, second by second, was a masterclass. One of my goals was to create a space where two great actors could interact, and I could both direct them and learn from them.”
The film’s unsettling body horror elements, from a visceral tooth extraction to a shocking chest wound, emerged from Lowery’s own experiences with the creative process. “The process of creating something is a bizarre and sometimes painful phenomenon,” he explains. “I’ve spoken to musicians who describe touring as physically debilitating.”
He connects this to the relentless demands placed on pop stars, referencing Taylor Swift’s stadium tours as a source of inspiration. “Pop stars are the hardest workers in entertainment, and Anne is right up there with them.” He summarizes the film simply: “I always just say it’s a movie about a pop star who needs a dress.”
The thematic link of red fabric and a crucial dress also playfully connectsMother Maryto Hathaway’s upcoming film,The Devil Wears Prada 2. Lowery finds the timing “great,” appreciating the shared visual element between these vastly different projects.
Ultimately,Mother Maryoffers Hathaway a role unlike any she’s taken on before. Lowery marvels at her incredible singing and dancing, and the sheer power of her performance. “To watch her and Michaela Coel go toe to toe is a gift for anyone who enjoys acting.” He considers the opportunity to direct these two exceptional talents a “luxury” he may never experience again.
