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Pablo Larraín's drama about the legendary American-born Greek soprano begins on the day of her death, 16 September 1977. Spectrally thin, dressed in a white nightgown, she collapses on the living room floor of her grand Paris flat.
The story then flashes back to a week earlier; most of the film takes place during that week (although we see key episodes of Callas' life). So we know from the start where the plot is going in a story of a neurotic death spiral.
The most effective moments are those that show Callas coming to terms with her legacy: reviewing recordings of her performances, recalling her life on stage, and grappling with the disconnect between her public image and her private reality.
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Angelina Jolie gives herself completely to her portrayal of Maria Callas, capturing her vulnerability, melancholy and the aura of awe that characterised her.
Her physical transformation is remarkable, and her performance strives to convey the complexities of a woman caught between her talent, her inner demons and the expectations of an audience that adored her as much as criticised her.
From a technical point of view, Maria Callas is impressive. The art direction accurately recreates 1970s Paris, while the costumes and make-up enhance the authenticity of Jolie's characterisation.
The cinematography uses muted tones and soft lighting to emphasise melancholy and isolation, reinforcing the film's introspective atmosphere.
The music, a key element in any story about a singer of Callas' magnitude, is carefully selected.
Arias and recordings of the soprano are used to underscore the more emotional moments, although at times the soundtrack seems to rely too heavily on these pieces to make up for the emotional shortcomings of the script.
For opera lovers and fans of the soprano, the film offers a visually beautiful homage and some glimpses of Callas' greatness.
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