Music from Charli xcx can’t save David Lowery’s dour chamber piece, despite some flashes of dazzling style
For a certain stripe of pop fan, diva worship comes along with having a high tolerance for their unique flavor of psychobabble. So when Anne Hathaway, as the titular singer in David Lowery’s Mother Mary, declares that her new single Spooky Action is about Einstein’s “transubstantiation of feelings”, I ignored the snorts from those in the theater beside me. Finally, I thought, fondly casting my mind back to when Lady Gaga would talk about her music as a reverse Warholian explosion: a pop star who is not afraid to lean into high-concept nonsense. My generosity quickly faded when I began to realize that Mother Mary – the character and the film – was missing a crucial component for any modern pop star worth their salt: self-awareness.
Mother Mary is a one-time music A-lister in search of a comeback after a mysterious event that has taken her out of commission. She seems … haunted, and is experiencing a fashion emergency to boot, unable to find anything to wear for her imminent return to the stage. Three days before she is due to make her big appearance she turns up in the rain at the gothic mansion of fashion designer Sam Anselm (an enjoyably over-the-top Michaela Coel), looking like a rat caught in a monsoon, begging for an outfit that “feels like me”. Sam has moved on considerably since she was Mother Mary’s partner in fashion, and perhaps her lover behind closed doors too. In fact, she entirely loathes the pop star. “You are a carcinogen, you are a tumor,” Sam says in an amusingly ominous voiceover. “The bile is rising.”