---
title: "Mother Mary"
year: 2026
kind: "film"
canonical: "https://film.one/film/mother-mary"
fi1m_id: "mother-mary"
imdb_id: "tt27200708"
tmdb_id: 1102883
wikidata_id: "Q120735817"
fi1m_score: 58
critics_score: 56
critics_reviews: 21
published: "2026-09-24T02:43:40.501170+00:00"
updated: "2026-09-24T02:43:40.957711+00:00"
region: "SG"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Mother Mary (2026)

Directed by David Lowery · 1h 52m · IMDA M18 · Music, Drama, Thriller

## Identity

Mother Mary

- **Canonical:** https://film.one/film/mother-mary
- **Type:** Film
- **Fi1m ID:** mother-mary
- **IMDb ID:** tt27200708
- **TMDB ID:** 1102883
- **Wikidata ID:** Q120735817
- **Same entity:** https://www.imdb.com/title/tt27200708/, https://www.themoviedb.org/movie/1102883, https://www.wikidata.org/wiki/Q120735817

**Fi1m score: 58** · Critics 56 from 21 reviews

*In a sentence:* Anne Hathaway makes a persuasive case for fewer conversations and another song

> David Lowery’s pop psychodrama gives Anne Hathaway and Michaela Coel plenty to do, but too little that makes their characters matter. The performances and visual craft hold our attention longer than the writing deserves.

## Synopsis

Mother Mary (Anne Hathaway) is a pop performer whose onstage appearances sit alongside a private drama involving Sam Anselm (Michaela Coel). Their relationship brings creativity and collaboration into extended conversations, while songs and dance offer another view of Mother Mary’s inner life. Hilda Offer (Hunter Schafer) and Imogen (FKA twigs) also appear. The story moves between concert spectacle and encounters between the two women, with the work of making art bound up in their connection. Musical performance becomes another means of expressing what passes between them.

## Review

*Mother Mary* asks us to take a pop performer’s creative life seriously, and that is a reasonable place to begin. David Lowery writes, directs and edits a drama built around musical performances and conversations about creativity. Too often, the conversations win on length alone. The result is a mixed film with committed actors, persuasive concert scenes and a script that makes its people harder to care about the longer they explain themselves.

Anne Hathaway gives Mother Mary the presence the film needs onstage, where a pop star has to justify all the attention being paid to her. We were caught up in these performances: she makes the singing feel like something the character needs to do, and for a while the questions about creativity become worth asking. Her command of the musical scenes also creates a difficulty for the rest of the film. Once she has shown us that much, another prolonged conversation about her inner life feels like being kept after the concert.

Michaela Coel is equally important as Sam Anselm, giving the dialogue an edge that keeps the exchanges from settling into solemnity. There is pleasure in watching her handle a sharp line, and the chemistry between the two leads provides some reason to stay with their relationship. But the writing leaves too much of that relationship unexplored. The actors work to make each exchange personal while the script keeps bringing the conversation back to its ideas about art.

Andrew Droz Palermo and Rina Yang’s cinematography gives the theatrical imagery enough force to sustain our interest even when the drama stalls. Bina Daigeler’s costumes help make the scale and extravagance of the stage performances convincing. Francesca Di Mottola’s production design contributes to that theatrical confidence, although the surroundings sometimes command more attention than the people. These departments work well together, but their success makes the thinness of the character writing harder to overlook.

Daniel Hart’s music fits the heightened atmosphere, though atmosphere is already the one thing the film has in abundance. The musical performances and the wordless dance suggest how much could have been communicated without another explanation. The dance is particularly effective because movement allows the feeling to remain uncertain without making it seem evasive. These passages give the performances room to develop without the burden of so much dialogue.

As editor, David Lowery does not sufficiently protect the film from his work as writer. The dialogue-heavy stretches keep asking for patience after their dramatic interest has faded, and at 112 minutes the film feels longer than its material warrants. We became frustrated because the performances had made us ready to care, yet the conversations did not bring the two women any closer to us. A drama about creative collaboration needs a clearer sense of what these particular people mean to one another.

Pop stardom offers a drama plenty to work with: the labour of performing, the attention it attracts and the awkward business of making something with another person. This film is most convincing when the performance itself takes over, and least convincing when the script insists upon discussing what it means. That leaves considerable stretches to sit through for the sake of two actors who deserve a less obstructive screenplay. If extended conversations about creativity already sound like work, the concert scenes will not be enough to compensate.

*Fi1m score 58, published 24 September 2026.*

## What the critics say

The consensus on Mother Mary is mixed, with critics widely divided over its experiments but more united about its leads. Anne Hathaway and Michaela Coel draw praise across favourable and hostile reviews alike, with Hathaway’s stage performances and Coel’s commanding presence recurring as strengths. The visual and costume design also earn substantial approval, while several supporters single out the wordless dance sequence for expressing feelings that the dialogue struggles to reach.

The disagreement centres on whether the surreal storytelling gives the drama emotional force or obscures characters who already feel remote. IndieWire finds the film hypnotic and emotionally resonant; The Hollywood Reporter finds it dull and emotionally empty despite admiring its visuals and costumes. Between those positions, the reservations concern slow pacing, strained dialogue and ideas that fail to cohere. Even some enthusiastic reviews acknowledge that its strangeness can make it difficult to enter.

## Straight answers

**Is Mother Mary worth watching?**

*Mother Mary* is a mixed pop psychodrama that we score 58, with more to offer admirers of Anne Hathaway and Michaela Coel than anyone seeking a compelling relationship drama. The concert scenes and wordless dance hold our attention, but extended conversations about creativity leave the characters underdeveloped and make the film feel too long.

**How long is Mother Mary, and what is it rated?**

*Mother Mary* runs 1h 52m and is rated M18 by the IMDA in Singapore. It is a music and drama film.

**Where can I watch Mother Mary in Singapore?**

*Mother Mary* is not on any streaming or rental service in Singapore at the moment. It is available in 10 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How violent or frightening is Mother Mary, and is it suitable for children?**

*Mother Mary* has a UK 15 certificate, so it is not suitable for children under 15. That classification indicates material suited to older teenagers and adults, but we cannot give a more specific warning about violence or frightening scenes: our review establishes no particular content of that kind.

**How does Mother Mary compare to The Red Shoes?**

*Mother Mary* is the less satisfying of these two dramas about artistic work and private life; we recommend [*The Red Shoes*](https://film.one/film/the-red-shoes) more strongly for making its central performer’s ambition feel urgent and dangerous. Hathaway’s pop performances are persuasive, but the surrounding conversations stall, while the dancer’s story in *The Red Shoes* remains compelling despite occasionally over-serious dialogue.

**What should I watch after Mother Mary?**

After *Mother Mary*, try [*The Red Shoes*](https://film.one/film/the-red-shoes) (1948, Fi1m 92): For another artist whose work makes unreasonable demands on her private life. Then [*Perfect Blue*](https://film.one/film/perfect-blue) (1997, Fi1m 82): Pop performance becomes frightening when a singer loses control of her public image; and [*All That Jazz*](https://film.one/film/all-that-jazz) (1979, Fi1m 84): Song and dance expose a showman’s exhaustion without making the spectacle any less compelling.

### Reviews we read (21)

- **IndieWire**, David Ehrlich (A-): Ehrlich finds the film beguiling, hypnotic, and emotionally resonant, praising its strange exploration of art’s power to heal. He especially singles out Anne Hathaway’s commanding performance and the film’s vivid visual and musical design. [Read](https://www.indiewire.com/criticism/movies/mother-mary-movie-review-anne-hathaway-a24-1235188817/)
- **The AV Club**, Natalia Keogan (B+): Keogan gives the film a strongly positive verdict, calling it Lowery’s most successful sensory experience. She especially praises the uncanny, wordless dance that reveals the film’s emotional and metaphysical force. [Read](https://www.avclub.com/mother-mary-review)
- **Empire**, John Nugent (80/100, inferred): Nugent finds the film a sublime, gorgeous meditation on creativity and collaboration, though its ideas are not entirely new. He especially praises the performances, songs, costume design, and cinematography as a unified artistic achievement. [Read](https://www.empireonline.com/movies/reviews/mother-mary/)
- **Little White Lies**, Hannah Strong (4/4/4): The review finds the film strange, haunting and unusually original, though it can be wilfully inaccessible. It singles out Michaela Coel’s compelling performance and the film’s distinctive storytelling for praise. [Read](https://lwlies.com/reviews/mother-mary)
- **Slant Magazine**, Rocco T. Thompson (3/4): Thompson sees the film as an ambitious, darkly divine pop exorcism whose elements may not fully cohere. He praises the vivid theatrical imagery and the charged performances of Anne Hathaway and Michaela Coel. [Read](https://www.slantmagazine.com/film/mother-mary-review-anne-hathaway-michaela-coel-david-lowery/)
- **Screen Daily**, Nikki Baughan (70/100, inferred): The headline indicates a positive verdict on the film as a finely crafted psychodrama. It singles out Anne Hathaway and Michaela Coel as impressive. [Read](https://www.screendaily.com/reviews/mother-mary-review-anne-hathaway-and-michaela-coel-impress-in-david-lowerys-finely-crafted-psychodrama/5215618.article)
- **Vulture**, Alison Willmore (65/100, inferred): Willmore finds the film beguiling but uneven, praising its compelling style while faulting its characters for feeling remote. She singles out a dreamlike sequence of Mary moving between stages as an image that lingers. [Read](https://www.vulture.com/article/mother-mary-is-worth-your-worship.html)
- **The New York Times** (64/100, inferred): The page appears to be a review, but its text is unavailable, so the critic’s verdict cannot be determined. No specific praise or complaint can be identified from the accessible material. [Read](https://www.nytimes.com/2026/04/16/movies/mother-mary-review-anne-hathaway.html)
- **Radio Times**, Chezelle Bingham (★★★): Bingham finds Anne Hathaway spellbinding in this surreal character drama. The review singles out her performance, while noting the dialogue-heavy approach to exploring Mother Mary’s inner life. [Read](https://www.radiotimes.com/movie-guide/b-2lw3ce/mother-mary/)
- **Time Out**, Larushka Ivan-Zadeh (59/100, inferred): The review’s standfirst suggests the film aspires to the effect of its comparisons but may not achieve it. It singles out its mix of The Red Shoes, Suspiria and Black Swan as the point of comparison, not as an unqualified success. [Read](https://www.timeout.com/movies/mother-mary-review-2026)
- **Los Angeles Times**, Katie Walsh (30/100, inferred): Walsh finds the film overlong and dramatically muddled despite its ambitious ideas. She praises the performances and singles out Hathaway’s live musical scenes as so compelling they leave the viewer wanting more of her. [Read](https://www.latimes.com/entertainment-arts/movies/story/2026-04-17/mother-mary-review-anne-hathaway-michaela-coel-david-lowery-a24)
- **The Guardian**, Owen Myers (30/100, inferred): The critic finds the film dour, muddled and overly earnest, despite its moments of dazzling style. Michaela Coel’s performance and the lavish pop-concert sequences stand out, while the film’s coyness and clunky dialogue draw criticism. [Read](https://www.theguardian.com/film/2026/apr/14/mother-mary-movie-review-anne-hathaway)
- **The New Yorker**, Richard Brody (25/100, inferred): Brody finds the film frustrating and dramatically unfulfilled, arguing that its small-scale approach feels strained and its treatment of stardom is shallow. He praises Michaela Coel’s balletic delivery of Sam’s sharp dialogue, while faulting the script for leaving the characters’ relationship and racial implications unexplored. [Read](https://www.newyorker.com/culture/the-front-row/mother-mary-and-the-problem-of-small-movies-with-big-stars)
- **Variety**, Owen Gleiberman (20/100, inferred): Gleiberman finds the film watchable at first but ultimately incoherent and pretentious. He praises Hathaway and Coel’s performances, while faulting the Gothic fantasy turn and the songs. [Read](https://variety.com/2026/film/reviews/mother-mary-review-anne-hathaway-michaela-coel-david-lowery-1236720011/)
- **The Hollywood Reporter**, David Rooney (15/100, inferred): Rooney finds the film pretentious, dull and emotionally empty. He praises its striking visuals and the knockout costume design, especially Mother Mary’s final dress. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/mother-mary-review-anne-hathaway-michaela-coel-david-lowery-1236562823/)
- **Deadline**, Pete Hammond (70/100, inferred): Hammond finds the film weirdly mesmerizing and ultimately satisfying, despite taking too long to reach its main event. He singles out Hathaway and Coel’s exceptional chemistry, along with Hathaway’s thrilling performance onstage. [Read](https://deadline.com/2026/04/mother-mary-review-pop-star-anne-hathaway-michaela-coel-1236859720/)
- **Polygon**, Jesse Hassenger (70/100, inferred): The critic finds the film an uncanny, conceptually rich ghost story that approaches horror without fully embracing it. They praise the red fabric apparition for evoking both the bond between the women and the lingering nature of memory. [Read](https://www.polygon.com/david-lowerys-mother-mary-as-ghost-story/)
- **The Wrap** (65/100, inferred): The critic finds the film messy and nearly pretentious, but ultimately captivating. They praise the cast’s commitment and the film’s brazen, dreamy performances. [Read](https://www.thewrap.com/creative-content/movies/mother-mary-review-anne-hathaway-michaela-coel/)
- **/Film**, Bill Bria (5 out of 10): Bria finds the film emotionally distant, confounding, and ultimately unsatisfying. He praises Hathaway and Coel’s performances, while faulting the script for letting its metaphysical ideas obscure the characters and drama. [Read](https://www.slashfilm.com/2147646/mother-mary-2026-movie-review/)
- **HeyUGuys** (45/100, inferred): The critic finds the film interesting but uneven, with its ideas and surreal turn preventing it from fully coming together. Coel’s grounded performance and the expressive dance scene are singled out as highlights. [Read](https://www.heyuguys.com/mother-mary-review/)
- **The Playlist** (35/100, inferred): The review finds the film unsatisfying despite its strong performances. It singles out Anne Hathaway and Michaela Coel for praise, while criticizing the story as overstuffed. [Read](https://theplaylist.net/mother-mary-review-anne-hathaway-michaela-coel-stun-but-david-lowerys-pop-star-saga-is-too-overstuffed-to-satisfy-20260414/)

## Details

- **Director:** David Lowery
- **Director:** David Lowery
- **Writer:** David Lowery
- **Cinematography:** Andrew Droz Palermo, Rina Yang
- **Editor:** David Lowery
- **Music:** Daniel Hart
- **Production design:** Francesca Di Mottola
- **Costume design:** Bina Daigeler
- **Producer:** Maximilian Leo, Jonathan Saubach, Toby Halbrooks
- **Cast:** Anne Hathaway as Mother Mary; Michaela Coel as Sam Anselm; Hunter Schafer as Hilda Offer; FKA twigs as Imogen; Sian Clifford as Jade; Kaia Gerber as Nikki; Alba Baptista as Miel Contrera; Atheena Frizzell as Emily
- **Runtime:** 1h 52m
- **Certificate (IMDA):** M18
- **Release (Singapore):** 14 May 2026
- **Genres:** Music, Drama, Thriller
- **Budget:** $20 million
- **Box office:** $3 million
- **Trailer:** https://www.youtube.com/watch?v=aqYHOsuje1E

## Where to watch in Singapore

Not streaming, renting or buying in Singapore at the last check.

Also available in: AU, CA, GB, IE, IT, NL, NZ, PL, PT, US. Add `?region=XX` to this URL for another country.

## If you liked this

- *The Red Shoes* (1948), Fi1m 92: For another artist whose work makes unreasonable demands on her private life. — [Fi1m page](https://film.one/film/the-red-shoes.md)
- *Persona* (1966): Two women, uneasy intimacy and a film that trusts faces more than explanations.
- *Perfect Blue* (1997), Fi1m 82: Pop performance becomes frightening when a singer loses control of her public image. — [Fi1m page](https://film.one/film/perfect-blue.md)
- *Clouds of Sils Maria* (2014): Two women negotiate dependence and resentment, with more room for ordinary human behaviour.
- *All That Jazz* (1979), Fi1m 84: Song and dance expose a showman’s exhaustion without making the spectacle any less compelling. — [Fi1m page](https://film.one/film/all-that-jazz.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/mother-mary