This review was initially published on August 29, 2024, as part of our coverage of the Venice Film Festival.
Overview of *Maria*
*Maria* sets its tone from the opening scenes, presenting a poignant portrayal of renowned opera diva Maria Callas, played by Angelina Jolie. Set in September 1977, the film explores her twilight years marked by deteriorating mental health and an increasingly fragile grip on reality. Once surrounded by adoring fans and a vibrant entourage, Maria now finds her world confined to the company of her devoted butler (Pierfrancesco Favino) and maid (Alba Rohrwacher), who are deeply concerned for her well-being. As she grappled with the effects of medication, her hallucinations lead her to engage in imaginary conversations, while her disdain for medical professionals grows as they attempt to enforce their sobering truths.
However, this portrayal diverges from the archetype of a tragic figure. Directed by Pablo Larraín, *Maria* sheds light on how Callas has often had her narrative dictated by others. In this phase of her life, she takes the reins of her own storyline. The film introduces a fictional filmmaker (Kodi Smit-McPhee) who represents her drug-induced visions, capturing her reflections on her past as she takes center stage in her own unfolding story. Despite interruptions from reality, this cinematic experience feels like a personal narrative crafted to express her innermost thoughts and ideas.
Creative Choices That Stand Out in *Maria*
Memorable Singing Sequences
The film showcases a complex tapestry of creative decisions that evoke admiration, even as opinions may differ on its effectiveness. Larraín expertly intertwines metanarrative elements with Maria’s surreal episodes, leaving no attempt to deceive the audience. The film strikes a balance between humor and poignant observations about how others perceive and interact with Maria throughout her struggle.
While I appreciate the opportunity to engage in discussions about Larraín’s artistic choices, I do not feel compelled to revisit these elements immediately. The film oscillates between various temporal planes, as Maria frequently shifts away from the present, drawing upon memories, dreams, or other ethereal experiences. These sequences are visually stunning, showcasing a remarkably adaptable palette that emphasizes contrasts.
Notably, the emotional impact intensifies during Maria’s singing moments. Though her peak performance days are behind her, Callas embarks on a journey to reclaim her once-celebrated voice. As she sings, the film catapults her back to the moments when she first performed those very pieces, immersing the audience in her nostalgia.
The film intentionally contrasts Angie Jolie’s portrayal of a diminished Maria with authentic recordings featuring the vibrant La Callas. While the audience hears and witnesses bursts of La Callas’s immense talent, it simultaneously highlights Maria’s struggle to reclaim what she has lost. The profound disparity is palpable—not only in sound but in the sorrow reflected in Jolie’s eyes.
Reflections on *Maria*: Artfulness vs. Emotional Engagement
While *Maria* is filled with admirable elements and noteworthy performances from Jolie, my emotional connection with the film felt limited. I often found myself at a distance from certain scenes, which created an emotional barrier. Although some films resonate more intellectually than emotionally, *Maria* stands out as one that exudes so much confidence in its artistry that I struggled to derive satisfaction from mere admiration.
This leads me to my core challenge regarding the film. I recognize that many viewers may resonate deeply with *Maria*, finding themselves utterly captivated by its narrative and the artistry of its direction. However, my recommendation comes with reservations. I can appreciate the film’s merit and its thought-provoking elements, yet I cannot deny my reluctance to revisit its intricacies anytime soon.
*Maria* premiered at the Venice Film Festival and became available in select theaters on November 27. It is now streaming on Netflix, has a 124-minute runtime, and carries an R rating due to some language and a sexual reference.
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