The inside of a busy theatre.

Marie Kouppi

Pablo Larraín knocked the door off the big screen with his latest muse, Maria Callas. Known for his intimate portrayals of iconic women like Jackie Kennedy and Princess Diana, he completes this thematic trilogy with Maria.

Watching the film feels like stepping into a dream — a dream filled with beauty, sorrow, and the echoes of a voice that once ruled the world. From the moment Jolie appears on screen as Callas, draped in elegant silk robes and wrapped in an air of quiet tragedy, it is clear that this is no ordinary biographical film.

Larraín’s mastery is at its peak when capturing iconic women at their most vulnerable. The lens is now on Callas in her final days, living in self-imposed exile in her Paris apartment. The film isn’t interested in the grandeur of her past performances or the dazzling highs of her fame. Instead, it lingers in the stillness — on a woman reflecting on a life of passion, heartbreak, and sacrifice.

Angelina Jolie as Maria Callas

Jolie’s portrayal of Callas is mesmerising. Maybe opera critics felt that the performance was distant, she doesn’t attempt to mimic the diva’s every mannerism, but instead embodies her spirit. Proud yet wounded, regal yet deeply lonely Maria has lost both literally and figuratively her presence. Her once-commanding presence on the stage is now confined to the dimly lit rooms of her Paris home, where she listens to recordings of her past performances, reliving the glory and the pain in equal measure.

Much has been said about whether this is Jolie’s “comeback” performance, but Maria is not the kind of film that relies on dramatic outbursts or showy performances.

“It’s about restraint”

Every glance, every moment of silence, speaks volumes. When Jolie’s Callas stares at herself in the mirror, you can feel the weight of the years, the regret, the longing for something just out of reach. The Guardian praised Jolie’s ability to “command the screen as a great diva in decline,” and that’s precisely what she does.

The Beauty of Maria

Visually, Maria is breathtaking. Just like Jackie (2016) and Spencer (2021), it’s spot on! Shot in soft, almost dreamlike tones by cinematographer Ed Lachman, the film feels like a faded memory. The camera moves slowly, often lingering on the smallest details. The flick of an eyelash, the way light dances on a satin gown just works. These moments build a sense of isolation, of a world closing in on a woman who was once larger than life.

Callas’s apartment is a masterpiece of melancholy — a place of faded opulence where the past lingers in every corner. It’s a shrine to a life lived in the spotlight, now dimmed by time and solitude.

Echoes of Spencer

Fans of Spencer (2021) will recognise the similar storytelling. Like Princess Diana, Callas is portrayed as a woman trapped by her own myth. While longing for freedom, she’s shown as unable to escape the weight of who she once was. There’s a haunting quality to both films, a sense that their protagonists are ghosts in their own lives.

However Spencer (2021) leaned into psychological horror, Maria is more of a quiet elegy. There are no shocking moments or dramatic revelations — just a woman, alone with her memories, waiting for time to catch up with her.

The Music that Hunted the Film

Of course, no film about Maria Callas would be complete without her voice. The moments when we hear her recordings are some of the most affecting in the film. These are not just songs; they are echoes of a life, reminders of what once was.

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In one particularly heartbreaking scene, Callas listens to a recording of herself singing “Casta Diva,” her eyes filled with tears. It’s not just nostalgia—it’s mourning. Mourning for her voice, her career, the love she lost, the life that slipped away.

Is Maria for Everyone?

Not everyone will connect with Maria. It’s slow, meditative, and refuses to follow the typical biopic formula. For those willing to surrender to its pace, Maria offers a deeply moving experience.

This isn’t a film about an opera star. It’s a film about Maria Callas, the woman — about what happens when the spotlight fades and the curtain falls. And in that quiet, Maria finds its power.

Maria was a haunting, intimate portrait of one of the greatest voices the world has ever known. Jolie delivers one of her most nuanced performances, capturing the essence of Callas without ever reducing her to imitation. Larraín once again proves his mastery of the biopic, creating a film that feels less like a history lesson and more like a whispered secret.

For those willing to listen, Maria sings. Not loudly, not triumphantly, but beautifully, tragically and with the aching grace of a final bow.

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Featured image courtesy of Vlah Dumitru on Unsplash. No changes were made to this image. Image license found here. 

Marie, the Cypriot Instagram editor of Empoword Journalism✨ Currently a teacher but silently crying about my PhD about ‘British Morals and their Impact on Societal Censorship in Arts!

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