Beyoncé strutting down the bleachers at Coachella. Taylor Swift going dark with Reputation. Madonna soiling Catholic iconography. Jewel morphing from folk to bubblegum. Robyn synthesizing heartache by way of dance-floor escapism.
When constructing Mother Mary, his hypnotic new psychodrama about a pop diva in the midst of an artistic meltdown (in theaters Apr. 17), director David Lowery studied these touchpoints—the swagger, the sinfulness, the self-disclosure.
The eponymous star, played by Anne Hathaway, would embody them all. But when we first meet Mother Mary in the film, she has lost herself. She arrives at a moody atelier on a rainy London afternoon, begging her former stylist, Sam Anselm (Michaela Coel), to make a dress that properly reflects who Mary is. She’s mounting a comeback performance at the Hollywood Palladium in a few nights, and none of the fancy designers she ditched Sam to collaborate with 10 years earlier seem to understand her, at least not anymore.
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