Maria review: Angelina Jolie gives a career-defining performance as a haunted opera diva
The IndependentGet our free weekly email for all the latest cinematic news from our film critic Clarisse Loughrey Get our The Life Cinematic email for free Get our The Life Cinematic email for free SIGN UP I would like to be emailed about offers, events and updates from The Independent. The film closes out Chilean director Pablo Larraín’s thematic trilogy of feminine horrors, portraits of the rubbled dreams of women who walked the 20th century’s most privileged halls. Jackie’s monstrous climax splattered the blood of President Kennedy across his wife’s pale pink suit, as worn by Natalie Portman; Spencer sent Kristen Stewart’s Diana stumbling down the halls of Sandringham estate, nauseous, her body possessed by the foul, inescapable stench of duty. Larraín uses what I imagine will be a somewhat divisive framework: hallucinations of a television interviewer named Mandrax, after the pills she’s become addicted to, whose questions are supposed to prepare Callas for an autobiography she never actually writes. Angelina Jolie in the Maria Callas film ‘Maria’ Jolie’s Callas is queenly, accentuated by Massimo Cantini Parrini’s enviable wardrobe of silk scarves, chunky gold jewellery, leather gloves, and bug-eyed glasses.