As I sat at the Telluride Film Festival premiere of Pablo Larrain's biopic of Maria Callas, in which Angelina Jolie plays the famous opera singer, I couldn't help but remember a line from Al Pacino's The Godfather Part III (1990): “Just when I thought I was out, they pulled me back in!”
It’s been a long time since Jolie was in contention for an Oscar—her last nomination was for her role in 2008’s Changeling , and she’s spent the time since then starring in films like Salt and Maleficent or directing films like Unbroken . But if you need a reminder of Jolie’s immense acting talent, it’s her transformative portrayal of one of the most famous and influential opera singers of the 20th century. It’s a transformation that can best be described as a kind of cinematic takeover. Larraín’s film, which follows Callas in her final days, should earn Jolie another Oscar nomination—and put her in contention for a second award to go alongside the one she won for Girl, Interrupted in 1999.
This is the kind of role Jolie has been waiting to play for more than 25 years, and one that fully exploits her undeniable commitment to the character. In the film’s final moments, her prowess becomes physically apparent: veins pulsate at her temples, her hands arch as if summoning theatrical warlords to carry her through the pain Callas must have felt in her final moments. It’s a true “Oscar clip,” if ever there was one.
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Maria
Courtesy of Pablo Larrain
Jolie’s performance is all the more powerful because there are clear parallels between her life as one of the most famous people on the planet and the misunderstood icon she portrays. Hollywood loves a comeback story, and this one might follow the lead of Renée Zellweger, who swept the 2019 awards season for her portrayal of Judy Garland in “Judy” after largely disappearing from the Oscar conversation following her win for “Cold Mountain” (2004).
“Maria” is part of Larraín’s trilogy of iconic women, which began with “Jackie” (2016), starring Natalie Portman as Jacqueline Kennedy, and “Spencer” (2021), with Kristen Stewart as Princess Diana. It’s his strongest entry in the collection, with a compelling character study written by Oscar nominee Steven Knight (“Dirty Pretty Things,” 2003). Larraín’s films are often described as “horror biopics,” but in “Maria,” he doesn’t always focus on the psychological torment Callas endured. Instead, he uses a musical-fantastical approach, which feels refreshing and coincidentally in keeping with a year that will see several unconventional musicals, such as “Emilia Perez” and “Joker: Double Madness,” in Oscar contention.
It’s worth noting that while Larraín’s previous work has earned her Oscar nominations for her leading man, she hasn’t received much attention from the Academy in other categories. Netflix, which will release “Maria,” will try to change that narrative.
This time around, the craftsmen have even more to admire, with the stunning cinematography of Edward Lachman, who also directed the film in Telluride alongside Jolie and Larraín. In addition, the evocative costumes by Massimo Cantini Parini and the production and set design by Jay Hendrix Dias and Sandro Piccarozzi will be in contention for one of the coveted five spots. Pay special attention to the makeup and hairstyling race, as seen in the three previous winners — “Poor Things” (2023), “The Whale” (2022), and “The Eyes of Tammy Faye” (2021) — which also won the lead actor or actress award.
Backed by Netflix, “Maria” may have more power in the awards race than initially anticipated, but mixed praise must be overcome. Despite being balanced by other projects like “Emilia Perez,” “The Piano Lesson” and “His Three Daughters,” a potential win for Jolie is something Netflix is likely to seek — and may achieve.
