Anne Hathaway Leads a Red Carpet Double Life

Anne Hathaway is experiencing a promotional season that would be far too busy for an ordinary mortal. On one side is the The Devil Wears Prada 2 world tour, and on the other is the premiere of Mother Mary. Two films, two aesthetic universes, and most importantly, two wardrobes that have clearly never spoken to each other.

For her return to the runway ecosystem, Hathaway is playing the absolute glamour card: sculpted dresses, solid colors, textbook fashion silhouettes. In short, everything you would expect from someone who is officially returning to the Miranda Priestly orbit.

But then comes Mother Mary, and the mood changes as if someone had dimmed the lights in the theater without warning. Here Hathaway plays a pop star in crisis, busy mending her relationship with her former costume designer and best friend, played by Michaela Coel, on the eve of a comeback that doesn’t exactly promise levity. The film is described as a psychological melodrama with almost supernatural overtones, suspended between musical backstage, ghost story, and a toxic relationship between two brilliant women who know each other too well. Even the wardrobe follows the emotional plot: a little mystery and a little goth subculture.