8legs: A24

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#1 out of 4

Lowery defends bold choices in 'Mother Mary' as audiences react with mixed opinions.
Hathaway’s commitment and the collaboration with Michaela Coel are central to the film.
Lowery describes the film as a blend of pop concert moments, drama, and body horror.
Lowery notes Disney remakes can play a role, but long-term vision matters for originality.
The film’s UK release is emphasized as audiences may be ready for it now.
The production marks another collaboration with A24, noted for high-quality releases.
Coel and Hathaway’s performances are described as a 'gift' for audiences and directors alike.
Lowery reflects on the intense preparation required to portray a pop star on stage.
Lowery cites Taylor Swift’s Reputation Stadium Tour as an influence for the concert-style scenes.
The film explores the pressures of artistic self-expression and performance weariness.

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#2 out of 4

Critics say many recent pop-dramas feel phony and far from real concert life, even with big-name stars involved.
The piece argues some films misread performance reality, with examples like Trap and Mother Mary cited for off-target staging.
Some critics see potential authenticity in projects like Power Ballad and The Ballad of Wallis Island, which handle music careers more believably.
The analysis notes a trend toward portraying pop idols as flawed or difficult, a shift some viewers find refreshing.
The column highlights that authentic music filmmaking may rise from works rooted in industry realities, like Stereophonic on Broadway.
Power Ballad and The Ballad of Wallis Island are cited as examples that address songwriting credits and aging performers in a relatable way.
The writer calls for more credible depictions of music creation rather than purely theatrical drama.
The piece contrasts score-driven work with music documentaries already saturating streaming, arguing for more believable storytelling in fiction.
The review notes that some films use two- or three-character setups to explore music industry dynamics without broad casts.
Overall, the column maintains a nuanced view, recognizing some films’ ambition while calling for improved authenticity.

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#3 out of 4

Kane Parsons will debut his Backrooms feature with A24, expanding the YouTube project to theaters.
The film, directed by Parsons, is scheduled for a May 29 theatrical release.
Renate Reinsve stars in the feature, with James Wan and Shawn Levy among producers.
The production used Blender to design the Backrooms and built physical sets to match the look.
The team conducted extensive testing, including 50 wallpaper tests to perfect the yellow.
Parsons describes a filmic approach focusing on isolated, atomized character dynamics.
Parsons maintained continuity between the web series and the feature.
The production involved a 30,000-square-foot set to realize the Backrooms world.
Kane Parsons cites the web series’ themes as reflecting collective anxieties and isolation.
The film’s cast and producers include Renate Reinsve, James Wan, Shawn Levy, and Osgood Perkins.

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#4 out of 4

Hathaway explains she studied other artists to claim space without imitation, aiming to define Mother Mary’s unique presence.
Coel emphasizes the film’s cast is all-female on screen, highlighting a focus on credit and visibility.
Coel reflects on the racial dynamic in Mother Mary, noting the Black woman behind the scenes influences the icon but may not receive credit.
Hathaway cites Homecoming as a model for how to present a pop star’s journey, informing her approach to Mother Mary.
Hathaway acknowledges the challenge of disappearing from the public eye given her longtime fame.
Coel describes disappearing to re-humanize herself and allow art to find her in caves before returning to the world.

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