Pablo Larraín’s latest film, “Maria,” delves into the life of the legendary opera singer Maria Callas, portrayed with intense gravitas by Angelina Jolie. The film begins with Callas’s death in 1977 and flashes back to the final week of her life, focusing on her deteriorating state and inner turmoil. Larraín, known for his portraits of iconic women in “Jackie” and “Spencer,” presents Callas’s world as both opulent and confining, echoing the grandiose yet imprisoning settings of his previous films.
The story portrays Callas as a tragic figure, consumed by her past glory and plagued by personal demons. Despite the lavish setting and Jolie’s compelling performance, the film’s fatalistic tone and narrow focus on Callas’s decline limit its emotional impact compared to Larraín’s earlier works. The movie offers a striking visual style, with autumnal hues and evocative flashbacks, but its portrayal of Callas’s final days feels more like a somber end than a dramatic exploration of her life and legacy.
