Synopsis
Maria Callas, the world's greatest opera singer, lives the last days of her life in 1970s Paris, as she confronts her identity and life.
Maria Callas, the world's greatest opera singer, lives the last days of her life in 1970s Paris, as she confronts her identity and life.
Angelina Jolie Pierfrancesco Favino Alba Rohrwacher Haluk Bilginer Kodi Smit-McPhee Stephen Ashfield Valeria Golino Caspar Phillipson Vincent Macaigne Aggelina Papadopoulou Erofili Panagiotarea Jörg Westphal Philipp Droste Alessandro Bressanello Bálint Magyar Paul Spera Kay Madsen Lyes Salem Christophe Favre Hugh Dillon Lidia Zelikmann Kauders Toma Hrisztov Botond Bartus Rebecka Johnston Lili Walters Jeremy Wheeler János Geréb Andrew Hefler Patrick McCullough Show All…
Juan Cristóbal Hurtado Jindřich Červenka Lukas Keclik Melanie Mahdessian Leonardo Mercado Anya Vinnik
Lars Ginzel Luise Hofmann Gwennolé Le Borgne Carsten Richter Helene Seidl Kuen-Il Song Hanse Warns Daniel Weis John Warhurst
玛利亚, María Callas, 마리아, Maria Callas, 玛丽亚·卡拉斯, Мария, Марія, Μαρία, מריה, 瑪麗亞, Марија, მარია
she is so sad but so rich yet so white and so skinny but so beautiful yet so misunderstood. revolutionary
Can’t wait to see another one of these in 30 or 40 years but this time about Lana Del Rey
"Happiness never produced a beautiful melody."
This is the most diva anyone has ever diva’d in this lifetime. Angelina Jolie is simply ethereal. Her acting is insane in this and her vocals blew me away.
The cinematography is undoubtedly the icing on the cake. Every shot is beautiful. Pablo Larrain I wasn't quite familiar with your game. I think it’s time I watched Jackie and Spencer.
tragically beautiful & so visually stunning. every shot in this film is like a painting. angelina jolie gracefully transforms into maria callas. through her physicality her voice; she delivers such a magnificent oscar worthy performance.. the last 20 mins truly broke my heart.
the interior design of maria's apartment oh my god i'm obsessed with the furniture and the paintings
The last and least familiar chapter in his trilogy of cloistered biopics, Pablo Larraín’s “Maria” is — like “Spencer” before it — a beautifully designed but sparsely furnished mind palace of a movie about a famous 20th century woman struggling to see herself through the inescapable glare of history’s spotlight. Where the opera star Maria Callas differs from Princess Diana or First Lady Jackie Kennedy in Larraín’s conception is that she desperately wants to be on (or return to) the public stage; her most authentic self is only complete with a loving audience.
The trouble is that “La Callas” has a tendency to be conflated with her characters. Tosca. Turandot. The exploited daughter. The unreliable diva. She is all of…
Eu não conhecia Maria Callas antes deste filme. Ela morreu antes de eu nascer, e não sou especialista em ópera. Deixando a fama de lado, este filme é praticamente uma janela para a profunda queda de alguém na depressão, no abuso de drogas e na eventual morte. Também tenta pintar o retrato de alguém que acabou sendo consumido pelo peso de sua própria fama. O principal veículo utilizado aqui para tentar completar o personagem é através de flashbacks em preto e branco. Praticamente, quando o filme é colorido, ela está alucinando ou basicamente mostrando aqueles ao seu redor em desespero.
No final das contas, o filme não se completa ou se torna mais interessante; é apenas um filme deprimente e…
oh to be a woman depicted by pablo larraín and have a whole act where i detail my life titled “la diva”