Mark Rivers

Hey, Aisha.

Thanks for having me.

They were doing a lot of not saying what these wounds were.

I think that's a totally reasonable read to take because the movie, to me, just was giving you so little.

So you had to kind of... You had to build it for yourself.

Take whatever kernel you could get and take something out of it.

I was really surprised at just how bored I was by a lot of it.

And this is a filmmaker that I've liked in the past.

I really liked The Green Knight from 2021, his kind of Middle Ages, 14th century, authoritarian legend film.

And I liked that this is a person who

doesn't seem to repeat himself.

Like, you would not have guessed that the maker of 2013's Ain't Them Body Saints, which was this kind of Terrence Malick-inspired couple-on-the-run film, you would not have guessed that that filmmaker would have made A Ghost Story or The Green Knight, that he's kind of making this trip from the physical to the metaphysical realm, right?

But as far as where we wind up with Mother Mary, I don't know where we are in this movie.

It feels like some indeterminate, undefined space.

And I think he had said that he had screened, like, Amar Bergman films for his cast.

Laurie's film is missing the psychological probing, the deep psychological probing.

And he's missing, you know, the way the cinematography or the way the movie is shot almost makes psychological x-rays of the space and the characters.

I didn't know what they were trying to deal with here.

And I also just stopped caring because Cole and Hathor just kind of

of shot-putting these vague generalities back and forth about doors closing and opening and what did you do?