After Jackie and Spencer, director Pablo Larraín completes his trilogy about iconic, tormented women with Maria, a portrait of opera legend Maria Callas in the last week of her life. Angelina Jolie is convincing as the broken diva who tries one last time to find her voice and herself in a film that balances between reality, memory and hallucination. 

Larraín is not seeking admiration, but understanding: Maria shows the diva as a woman — lonely, exhausted, trapped in her image, marked by fame and love in the shadow of men like Aristotle Onassis. In beautifully stylised black and white and with poignant singing scenes (sung by Jolie herself), Maria is a film about lost glory, but also about the elusiveness of identity. 

A little more awkward than its predecessors, but full of powerful moments. For those who love opera, cinema about women who are more than icons, and the beauty in brokenness.