Maria marks Pablo Larraín’s third exploration of a powerful yet melancholic woman, following Jackie and Spencer. By now, his formula is starting to feel predictable: a powerhouse performance from a talented lead actress, exquisite costumes, high production values, and an intimate focus on pivotal, often somber moments as the woman reflects on how she got there. Watching Maria feels akin to revisiting an old James Bond film like For Your Eyes Only: if you know the formula, it’s all about ticking off the familiar boxes as the film delivers its signature beats (“Gardens!”, “Tragic moment!”, “A glimpse of happiness!”). For newcomers to Larraín’s work, however, starting with his earlier films that established this approach might be a better introduction.
Visually, Maria is the most dazzling of the trilogy. Edward Lachman’s cinematography is mesmerizing, effortlessly alternating between lush, colorful sequences and evocative black-and-white imagery. The camera frames Angelina Jolie with stunning precision, enhancing her elegance and beauty—arguably, she’s never looked better. Mirror shots, grand stage scenes, and meticulously composed visuals create a sumptuous feast for the eyes.
Jolie anchors the film with a commanding performance, embodying Maria as a figure of strength and grace. Her opera lip-syncing is mostly convincing, save for one slightly off moment. She brings humor to some scenes and effectively explores the character’s vulnerability in the present timeline.
The film’s issues begin with its supporting characters. Maria’s mother, a pivotal influence, is reduced to a blink-and-you’ll-miss-it appearance, while the servants—played empathetically by Alba Rohrwacher and Pierfrancesco Favino—feel underdeveloped and lack compelling arcs. Kodi Smit-McPhee adds a touch of eccentricity, but his scenes often feel repetitive. Repetition, in general, is a significant problem in Maria. The constant parallels between Maria’s past and present singing lose their impact after the third or fourth iteration, leaving the impression that the film doesn’t have much to say beyond its visual elegance.
Still, Maria remains engrossing, with its visual splendor ensuring you’re never bored. Jolie’s presence makes it worth watching, even if it signals that Larraín may have run out of fresh ideas in the “sad famous woman” sub-genre. Perhaps it’s time for him to explore new territory.