Maria

After 2016’s Jackie and 2021’s Spencer, director Pablo Larraín wraps his Grand Dame trilogy by shining a slightly less engrossing spotlight on legendary opera diva Maria Callas.

Angelina Jolie is outstanding as the American-born Greek soprano “La Callas,” allowing Maria’s indulgence of her own iconic status to land as more realism than caricature. Jolie meet the demands of Larraín’s fondness for lip-synching close ups, and moves through the lushly detailed production design like a queen walking to her throne.

Cinematographer Edward Lachman, who earned one of his three Oscar nominations for last year’s Larraín collaboration, El Conde, elegantly captures the image of a solitary figure traveling an exquisite if lonesome city.

There is much to admire in the film, but this time screenwriter Steven Knight (who also penned Spencer) keeps the biography a bit too much at arm’s length. Anchoring the timeline in the last week of Callas’s life and then flashing back via Maria’s interview with a reporter (Kodi Smit-McPhee), Knight never lets us glimpse the full-of-life Maria that calls to us from archival footage over the closing credits.

Both Pierfrancesco Favino and Alba Rohrwacher bring needed warmth to their scenes as Callas’s devoted staff, but the balance of the film feels too tidy and glossy to be telling a life’s story.

As with both Jackie and Spencer, Larraín is able to illustrate the loneliness and isolation of an iconic woman. We see it again in Maria, we just don’t feel the tragic arc quite as deeply.