Director David Lowery likes to go weird and unconventional. And that’s a good thing for us audiences, who are willing to watch his film output. Lowery is a favorite of my eldest son Quintin, so I asked him to pitch in for this review.

Lowery’s latest, "Mother Mary," has us following its titular character in a crisis of faith. What is she to do when she feels she no longer can go on as an icon, and sad-song-singer, for our times? She goes seeking out the costume designer and estranged friend she first started out with. This is the person who literally shaped and molded her image. And in her, Mary hopes of finding some truth, back with whom it all began.

Anne Hathaway brings a strong physical and vocal presence to Mother Mary. Her physique brings more reality to the role by looking, feeling, and moving like she had just been through a hell of a tour… "The Devil Wears Prada 2" marketing run perhaps?

Michaela Cole on the other hand plays Sam Anselm, the estranged friend and now successful fashion designer, having already come to terms with her own success, considering the fallout years as part of her resolved past. Cole is the stronger presence here, carrying more of the longer monologues with such a hardened and broken timber. She instills so much with just a gaze; and the weariness of talking to a disciple that was lost.

For a good chunk of the film, Sam leads Mother around her eerie and empty atelier. They venomously search through old designs, garments, and materials, in search of the new dress that shall adorn Mother for her comeback show. It’s an interesting angle for Lowery to take. A chamber piece that should be better marketed as such, so as not to surprise audiences expecting more of “Smile 2” mixed in with “The Moment”. But what we get in red and bloody spades are two artists dealing with their creative struggles and sacrifices in the name of success.

Early on, blinding text flashes on screen, saying “Don’t listen. This song is cursed.” A fitting call for anyone seeking a life where their voice is the only real independence, and currency.

Lowery has always been one to double down on the symbolism. He wouldn’t be out of place as an apprentice to The Archers (Michael Powell and Emeric Pressburger) as he loves to play with cheeky visuals that evoke strong color tones and a sense of the macabre. Flushes of stark red dissolves, vivid color breaking into darkness, and focused choreography all harken the psychological turmoil interpreted onto the frame. Much of it takes cues from the likes of “Black Narcissus” and “The Red Shoes”. The literalness can sometimes be a bit uneven, but the direction is always focused. We get to see playful visuals, smart use of minimal sets, and theatrical blocking baked with a heavy emotional core.

Fans of his "The Green Knight" can expect more of the same, albeit at a smaller and more intimate scale. Whereas the Knight sought greatness by venturing forth into the world, we now have Mary falling from such heights, and heading back into a dark and quiet space - both yearning for truth in whatever form it may take.

The A24 film opens in selected SM cinemas come April 22, with local distributors CreaZion Studios offering very special ticket prices - 275 pesos in Metro Manila.

Lowery directed "A Ghost Story" and "Ain’t Them Bodies Saints" as well, and "Mother Mary" is his take on the fragile psyche of a pop star, and their constant need for validation. (With Quintin Cu Unjieng)