CinemaMaria Callas is an ode to the eternity of a voice in its last days; RS already seen

Closing his trilogy composed of Jackie (2016) and Spencer (2021), Pablo Larraín launches, starting this Thursday, January 16th, Maria Callasbiopic of the Greek-American opera singer, starring Angelina Jolie (Eternals).

The stories portray three historical female figures and their complex interactions with power, fame, and personal pain. Each work brings deeply subjective approaches, centered on the psychology and internal conflicts of these characters, without limiting itself to offering a traditional biographical vision worthy of any Wikipedia page. Instead, Larraín surrenders to the aesthetic beauty of cinema, the delusions of its protagonists and the freedom of an author who has a very clear signature — whether you like it or not.

The works of the divas trilogy, as some call it, share some central characteristics: the search for the subjectivity of historical characters, the distancing from the conventions of traditional biographies and the exploration of the complex dynamics between the public and private lives of the women portrayed.

Larraín rejects a simplistic reading of his biographical figures, preferring to draw multifaceted portraits, in which the character’s identity is questioned and fragmented. The performances of Natalie Portman (Jackie), Kristen Stewart (Spencer) and Angelina Jolie (Maria Callas), all marked by their emotional intensity, are central elements that help to convey this complexity, being accompanied by art and cinematography directions that further elevate the contemplative and, at times, surreal tone of his films.

Despite the similarities, each work deals with different themes, such as mourning and the reconstruction of identity in Jackiesuffering and the search for autonomy in Spencer and the loss of greatness and loneliness in Maria Callas. Larraínthroughout the trilogy, builds a narrative that is more emotional than factual, which often generates a sensorial and introspective experience for the viewer, who finds themselves faced not only with the public figures that these icons represented, but with their internal struggles and their human frailties.

Maria Callaswhich concludes the trilogy, is the portrait of a woman immortalized by the greatness of her voice and the brilliance of her presence on stage, but who, in the last days of her life, finds herself lost in a world of empty and decadent opulence. The film is an intimate ode to the memories and daydreams of Maria Callas. The choice of Larraín is bold in transforming the soprano’s biography into a dense psychological study, full of symbolism and contrasts, in which external luxury is constantly confronted with the artist’s internal fragility.

The photograph of Edward Lachman (The Virgin Suicides) captures the isolating atmosphere of Maria Callas always with open plans and pastel tones, which evoke decadence and the memory of a glorious past, now faded, in its last days. The use of black and white scenes to portray the singer’s past can be interpreted as a nod to a Maria Callas that remained in history and memories.

Angelina Jolie embodies a Callas delicate, multifaceted and full of nuances. Would another actress handle the character? It’s very difficult to answer, but the choice for the actress seems to be the right one. Jolie He immerses himself in the character with an intensity that has not been seen in his career for a long time; She often rescues humanity from Callasmoving away from the mythical figure and bringing to light the fragile woman tormented by the expectations that surround her.

The great asset of the script Maria Callaslies in the fact that Larraín chooses to explore the myth of Maria Callas not through the facts of his life, but through the reconstruction of his psyche and the echoes of his existence. This challenging format offers a more human and less idealized vision of the singer, without falling into the trap of glorification.

Ultimately, Maria Callas is a visually stunning film that goes beyond the surface. Larraín and Jolie they do a powerful job of reconstructing the diva’s story. The proposal to capture the greatness and tragedy of Callas This particular search for psychological complexity and the mixture of fantasy and reality may not please everyone, but at least it guarantees that Maria Callas be a work that moves away from the ordinary and is in tune with the other films in the trilogy.

Rolling Stone Brazil film special

Cinema is the theme of the new printed special from Rolling Stone Brazil. In a magazine dedicated to lovers of the seventh art, we interviewed Francis Ford Coppolawho turns 85 amid the release of his new film, Megalopolisa bold and million-dollar undertaking financed by himself.

Unshakable in the face of controversial reactions to the novelty, which took around 40 years to get off the ground, the filmmaker defends the cinema industry’s boldness in being creative and opens up, in plain Portuguese, about Brazil’s influence in his new film: “Alegria” .

The special also features conversations with Walter Salles, Fernanda Torres and Selton Mello on I’m Still Herea chat about soundtracks with the maestro João Carlos Martinsan exclusive list with the 100 best films in history (50 national, 50 international), another list with the 101 greatest soundtracks in the history of cinema, a warm-up for Oscar 2025 and the release radar of Globoplay, Globo Filmes, O2 Play and O2 Filmes for the coming months.

The movie special Rolling Stone Brazil It is already on newsstands, but can also be purchased at the Perfil publisher’s store for R$29.90. Check it out:

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What has been the best film of 2025 so far? Vote for your favorite!

• Baby
• Babygirl
• The Seed of the Sacred Fruit
• Here
• Maria Callas
• Luiz Melodia: In the Heart of Brazil