Angelina Jolie’s portrayal of Maria Callas captures the legendary soprano gazing across Paris through thick, oversized glasses that magnify her dark pupils. These distinctive spectacles firmly place the story in the late 1970s, a period when Callas was battling anorexia, addiction, and the devastating loss of her once-lush voice, which had enchanted opera houses and record players worldwide.

Directed by Pablo Larraín, Maria is the latest in his trilogy exploring famous women in psychological turmoil, following Jackie (about Jackie Kennedy) and Spencer (focused on Princess Diana). The film concentrates on Callas’s final week—a haze of drugs, visions, and public disgrace. At the heart of this tumultuous time are her sessions with a pianist, hinting at a possible return to the stage, only for the idea to be crushed as the decline of her voice becomes unmistakable.

A common challenge for musical biopics is deciding whether to feature original recordings or reinterpreted versions. Should filmmakers take the risk of having actors sing, as seen in Mamma Mia! with Pierce Brosnan’s infamous attempt, or opt for lip-syncing, as Rami Malek did in Bohemian Rhapsody? If the latter, should they use the original artist’s voice or a closely matched substitute? (Malek’s portrayal of Freddie Mercury combined the vocals of singer Marc Martel with recordings of the Queen frontman.)

Maria faces an additional challenge: portraying an operatic soprano—a voice that typically takes years to refine. In Jolie’s case, she dedicated seven months to vocal training. The film features selections from nine operas, including the well-known O mio babbino caro from Gianni Schicchi. Callas’s original 1950s recordings have been carefully isolated and, to varying degrees, blended with Jolie’s own singing.