Academy Award®-winner Angelina Jolie is Maria Callas, one of the most iconic performers of the 20th century in acclaimed director Pablo Larraín‘s operatic MARIA.

The film follows the American-Greek soprano as she retreats to Paris after a glamorous and tumultuous life in the public eye.

MARIA reimagines the legendary soprano in her final days as the diva reckons with her identity and life.
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Things were not helping by her choice of partner. To say Prince Charles came with baggage is a severe understatement. His heart lie elsewhere and the marriage was little more than transactional. Her unhappiness after almost a decade in the circus is palpable in almost every scene. Director Pablo Larraín (Jackie and Ema) and Cinematographer Claire Mathon sell the bleakness with washed-out colours and grey skies.

With Hollywood typecasting in full swing, you know the type. Get me a grumpy old man, you mean J.K. Simmons? Kristen Stewart gets to strut her sullen stuff and she is perfectly cast. She effectively sells the unhappiness at the core of the People’s Princess. Not a bad job with the accent as well. Timothy Spall is also perfectly cast as Major Alistar Gregory. His ominous presence is unnerving.

In a nod to how oppressive and controlling that life had become for both Diana and her children William (Jack Nielen) and Harry (Freddie Spry) the simple act of going out for a junk food fix (in this case a visit to the ubiquitous KFC) is perceived as the ultimate act of freedom. That Di’s life arc ended so tragically only reinforces the pervading feeling of hopelessness and sorrow at the core of Spencer. She deserved better.

Rob Hudson
www.facebook.com/roadshow

Ema is young, irresponsible, erratic, and loves to set things on fire. Her life is filled with distraction and disfunction while she tries hard to fill a gap left by the abandonment of the young adopted boy Polo (Cristián Suárez) by her and husband Gastón (Gael García Bernal). She is a dancer by trade and Gastón a choreographer.

Through a convoluted plot device, Ema comes in contact with the couple that adopted Polo and ensnares both of them in her hedonistic lifestyle. The ease in which she accomplishes this defies normal logic but as things progress you learn they too are damaged and looking for things not found in their marriage.

The main obstacle you must overcome to find enjoyment in watching Ema is trying to relate to someone that you have so little in common with. Her narcissistic behaviour is very off-putting and as things progress you find little in the way of understanding as to how she came to be so self-centered. Thinking that Larraín is there as your tour guide might be a misstep as you are left to find your own feelings.

Rob Hudson
www.facebook.com/Palacecinemas