Mary (2024)
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Mary, directed by D.J. Caruso, is a film that explores the limits of faith, resilience and the search for purpose in a world that seems in constant chaos.
The film, in terms of historical or even biblical rigour, does not go far enough. It draws heavily on apocryphal sources, unreliable Christian traditions and the screenwriter's own imagination.
Noa Cohen's performance as Mary is the cornerstone of this work, taking the viewer through a deeply human emotional journey.
Caruso's direction manages to balance moments of emotional tension with a visual narrative laden with symbolism.
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The cinematography is one of the film's strengths, using a palette of dark and warm colours to reflect the moods of the characters.
However, at times the script feels overloaded, trying to cover too many themes at once, which dilutes the emotional impact in certain key scenes.
Noa Cohen shines in her role, delivering a nuanced performance that captures the complexity of her character, her vulnerability and strength on screen so captivating that even the weakest moments of the plot are elevated by her presence.
The soundtrack, while adequate, lacks memorable moments that really highlight the drama or intensify the film's high points.
Some secondary characters are underdeveloped, leaving the feeling that the film could have delved deeper into its narrative arcs to enrich the main story.
Mary is a solid work that succeeds in moving and thought-provoking, though it fails to exploit its full potential. It is an interesting and well-executed story, but leaves room for improvement in terms of narrative cohesion and depth.
Of course, if you're a Catholic or someone who has no idea what's written in the Bible, you may well love it... just as you loved The Da Vinci Code and other such nonsense.
If you are a God-fearer and lover of His Word, you will vomit from the first minute, and you will not stop vomiting during the almost two hours that this rubbish is so far from the Word of God.
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