During the press conference for “Maria” at the Venice Film Festival, filmmaker Pablo Larraín faced a bold question from a journalist asking whether Angelina Jolie had the Oscars in mind when accepting the role. Larraín, whose films “Jackie” and “Spencer” earned Best Actress nominations for their leads, has an established track record in this regard. Jolie, however, skillfully redirected the focus to Maria Callas—the legendary opera singer she portrays in the film. “I’m grateful for any recognition of my work, but my real concern is not disappointing those who love Maria and value her legacy. I genuinely cared for her,” Jolie shared. “I wanted to do her justice.”
If the enthusiastic response to the film during its world premiere in Venice is any indication, Jolie’s concerns may be unfounded. The movie, which creatively depicts Callas’s final days, received one of those famously prolonged applause that often catapults films into Oscar contender status.
To truly evaluate the film’s awards prospects, we must consider the broader landscape of this year’s cinema. Unlike last year, which featured many Best Picture nominees debuting in the first half of the year, 2024 has been relatively lackluster in terms of Oscar-worthy films. The Academy allocates ten slots for Best Picture nominations, yet so far, only “Dune Part Two” has managed to achieve both critical acclaim and box office success—though its sequel status might dampen its chances.
Critics and voters alike are now looking to the fall film festival premieres to bring more competition into the mix, lending an initial inclination to support “Maria.” Larraín’s previous works, “Jackie” and “Spencer,” serve as a strong precedent—both earned at least one Best Actress nomination.
How this film fits into that formula largely depends on the current climate of film releases. It seems likely that “Maria” could garner even more nominations than the three received by “Jackie.” Jolie’s role is significantly more substantial than her recent performances, and she’s been adept at linking the character to her personal experiences.
When asked about her similarities to Callas at the Venice press conference, Jolie coyly remarked, “There’s much I won’t discuss here that you might already know,” alluding to her tumultuous divorce from Brad Pitt that has been highly publicized. Nevertheless, she noted that both she and Callas share a softness and vulnerability that the public rarely sees.
“Maria” is a strong showcase for Jolie, leaving little room for her co-stars, like Pierfrancesco Favino, Alba Rohrwacher, and Kodi Smit-McPhee, to shine in pursuit of supporting nominations. This film’s Oscar chances are likely to be much stronger in the technical categories.
Best Cinematography stands out as a likely contender given Larraín’s collaboration with Ed Lachman, who earned an Oscar nomination for his work in “El Conde.” The cinematography in “Maria” may not be as stylized, but it is crafted in a refreshingly innovative manner. Best Makeup and Hairstyling could also be on the table, especially with Heike Merker onboard—she recently received recognition for her work on “All Quiet on the Western Front.” The narrative around the subtle prosthetics used to make Jolie resemble Callas enhances her performance rather than detracts from it.
While Larraín collaborated with costume designer Massimo Cantini Parini instead of his “Jackie” partner Madeline Fontaine (who received an Oscar nomination for the 2016 film), Parini’s work in “Maria” remains appealing to Academy voters with its breathtaking opera costumes and period attire suited for 1970s Paris. The production design by Guy Hendrix Dyas could be a differentiating factor, though the film’s setting primarily in Callas’s lavish apartment might limit its appeal in that category.
Less promising prospects for the film include absence in the original score category, a nomination that “Jackie” received. Sound is crucial in portraying a celebrated singer like Callas, but Best Sound typically favors more action-oriented films like “Top Gun: Maverick,” “Dune,” and “Ford v Ferrari.” Moreover, “Maria” lacks the qualities that often lead to a nomination for Best Visual Effects.
Categories like Best Editing, Best Original Screenplay, and Best Director are more uncertain. The editing is noteworthy but may get overshadowed by emerging competition. Both Larraín and screenwriter Steven Knight are highly respected in their fields, which could lead to Oscar recognition, although it’s too early to determine their potential success.
Netflix has acquired the U.S. rights to “Maria,” adding it to a strong awards slate that includes “Emilia Perez” from Cannes and the recent adaptation of August Wilson’s “The Piano Lesson.” “Maria” is also set for an extensive fall festival tour, being featured at Telluride, TIFF, and the New York Film Festival. Currently positioned more as a Best Actress contender than Best Picture, the dynamics may shift over the coming weeks, and Netflix is well-equipped to pivot its focus toward other films in its lineup if needed.
