Meta description : Watch the Mother Mary trailer: Anne Hathaway and Michaela Coel collide in David Lowery’s A24 melodrama with songs by Charli XCX and Jack Antonoff.
The first trailer for David Lowery’s “Mother Mary” lands with show lights, needles, and bruised hearts. Anne Hathaway plays a global pop icon walking straight into the orbit of Michaela Coel, a visionary fashion designer whose work looks like it could cut. The footage promises a love story that is also a power study, with the studio A24 framing it as a grand melodrama where image becomes a battleground.
Two names jump out before the first chorus hits : Charli XCX and Jack Antonoff wrote original songs for the film, while Daniel Hart handles the score. The creative pedigree is heavy. Lowery, the filmmaker behind “A Ghost Story” in 2017 and “The Green Knight” in 2021, steers a story about celebrity, collaboration, and the cost of being seen. The intent is clear from second one : this is not a meet cute, it is a collision.
Mother Mary trailer : Anne Hathaway and Michaela Coel in a volatile muse story
The main idea lands fast. A star at the peak meets a designer on the rise, and both crave control. Hathaway’s character sells arenas. Coel’s character sculpts silhouettes that feel like armor. Shots cut between stadium glare and the quiet of an atelier, with paparazzi flashes intruding like alarms. That tension reads as the real plot engine, not just the romance.
Context helps. The project was announced in 2023, with A24 producing and filming taking place in Europe. The industry weathered the 2023 strikes that disrupted many shoots between May and November. Lowery’s film kept momenum, and the trailer now signals the push to theaters with the machine fully awake.
There is a practical question under the glitter : how do two artists share authorship when the audience, the press, and the brands want to rank who made whom. The trailer answers partly with looks. Costumes are narrative. Fabrics stiffen or flow depending on who holds the upper hand in a scene. That is the hook for viewers who live for process as much as plot.
David Lowery and A24 : big feelings, bigger stage, serious track record
Lowery’s name draws attention because of his precision with tone. “A Ghost Story” arrived in 2017 with a tiny budget and outsized emotional reach. “The Green Knight” in 2021 reworked myth into something raw and contemporary. Here he leans into melodrama, a genre that rewards bold color and clear stakes. The trailer’s framing, with faces swallowed by spotlights, suggests a filmmaker comfortable with iconography.
A24 has the muscle for this kind of thing. The studio dominated the 2023 Academy Awards with 9 wins across “Everything Everywhere All at Once” and “The Whale”. That number matters for trust. It signals a pipeline that can launch a bold concept and still get it seen. For “Mother Mary”, the sell is clean : a romance about creation and control that lives on stage and in fitting rooms.
Music tilts the scale. Jack Antonoff, a multiple Grammy winner who took Producer of the Year Non Classical three years running from 2022 to 2024, teams with Charli XCX, a pop architect known for sharp hooks and club instincts. The trailer leans hard on that union. Beats punch through edits. Melodies snap to close ups. If the songs land, the emotion lands with them.
What the trailer teases : themes, sound, and what remains unsaid
Patterns pop after a second watch. Performance scenes arrive like trial by fire. Backstage moments feel almost forensic, with hands on fabric and eyes on flaws. There is a suggestion of contracts, of press cycles, of the way a narrative gets agreed to before it is lived. Fame turns private choices into marketing, which is exactly the kind of friction that melodrama feeds on.
Viewers sometimes read trailers like verdicts. Here that would be a mistake. A24 trailers are cut to spark questions, not to give answers. Notice how the dialogue is spare, how the camera holds on silence when a lesser cut would explain. That restraint suggests confidence in the draw of Hathaway and Coel, and in the chemistry between a voice and the person dressing it.
A final piece fills in the picture. Lowery’s longtime composer Daniel Hart returns, which matters for cohesion. Hart’s scores in 2017 and 2021 showed a knack for threading intimate scenes through sweeping frames. The trailer’s crescendos hint at the same blend. What it does not show is release specifics beyond the year and the promise of a theatrical push. That keeps curiosity high and ensures the next drop, likely a full track or a date, lands with real weight.