51st Telluride Film Festival Day Four: Maria and September 5

The 51st Telluride Film Festival came and went in the blink of an eye, as it always does. It’s curious how an event of such grandeur can seem so fleeting once it’s over. Among the whirlwind of incredible films and the cherished conversations with friends who, for the most part, we only know from the digital ether, the festival offered a brief but powerful escape. For a moment, we had the mountains and we had the movies.

When I spoke to friends and critics, the consensus seemed to be that this Telluride was a special one. So many great movies were curated for us that it is hard singling out a favorite. But I will do just that to wrap up the affair.

Pablo Larraín’s Maria, the third installment in his acclaimed trilogy focusing on troubled women (following Jackie and Spencer), premiered at Venice to mixed reviews. Despite the lukewarm critical response, one aspect was unmistakably exceptional: Angelina Jolie’s portrayal of the iconic and tragic opera star Maria Callas was nothing short of extraordinary. At Telluride, the film found a more receptive audience, with viewers embracing Larraín’s latest effort more warmly.

In Maria, set during the final week of Callas’ life, Larraín’s focus is on her most vulnerable moments. The film explores Callas’ struggles with her deteriorating health, her troubled past with ex-lover Aristotle Onassis, and her desperate attempts to reclaim her once-magnificent voice. This intimate portrayal aligns with Larraín’s previous works, where he is fascinated about the personal and often painful moments of his subjects’ lives.

Larraín’s approach, though often criticized for its coldness, presents a fascinating lens on his characters. His films are challenging, beautiful, and tragic all at once, inviting viewers to absorb and reflect on the emotional depth of his subjects.

In Maria, it is Jolie who emerges as the undeniable highlight. Her portrayal of Callas is nothing short of extraordinary. Jolie not only brings the character to life but also delivers one of the most powerful performances of her career. The voice we hear as Callas struggles to regain her legendary timbre is Jolie’s own, and it is astonishing how convincing and hauntingly beautiful her performance is. This might well be the finest performance we witness this year.

The supporting cast also deserves commendation. Alba Rohrwacher and Pierfrancesco Favino as Callas’ dedicated housekeeper and butler, respectively, along with Haluk Bilginer as Onassis and Kodi Smit-McPhee as Mandrax (a reporter named after the main drug Callas is taking), contribute significantly to the film’s success.

Cinematographer Edward Lachman’s contribution is another highlight, masterfully capturing Maria in striking monochrome for the past and vivid color for the present. His visual artistry, complemented by the work of production designer Guy Hendrix Dyas and costume designer Massimo Cantini Parrini, ensures that the film is as visually captivating as the iconic subject and the extraordinary actress embodying her.

Maria is a testament to Larraín’s skill in drawing out profound performances and crafting a visually stunning film. Jolie’s portrayal is immaculate. Maria made a strong impact at the festival and positioned Jolie as a formidable contender in the Lead Actress Oscar race this year.

I concluded the festival with Tim Fehlbaum’s intense historical drama September 5, which vividly recounts the moment when an act of terrorism was first broadcast live to the world. The film centers on the 1972 Summer Olympics in Munich, where a small group of Palestinian militants from the faction Black September took 11 Israeli athletes and coaches hostage. September 5 focuses on the high-stakes environment of the ABC Sports control room as they covered the unfolding crisis.

John Magaro delivers a standout performance as novice producer Geoff Mason, who evolves from a rookie into the central figure in one of the era’s most gripping news stories. Peter Sarsgaard portrays Roone Arledge, the influential television executive orchestrating the coverage behind the scenes. Ben Chaplin, almost unrecognizable, plays Marvin Bader, my favorite of the film’s incredible ensemble.

Set against the backdrop of post-war Germany, the film adds layers of tension for a country still grappling with its WWII legacy. Leonie Benesch, as Marianne Gebhardt, the sole German-speaking woman in the control room, delivers a powerful performance amidst a milieu tinged with 1970s sexism. Her character’s struggles add depth to the film’s already intense narrative, creating one of the most riveting 91-minute experiences of the year.

For those familiar with Steven Spielberg’s Munich (2005), which explores the aftermath of the Munich massacre, September 5 offers a complementary, though equally harrowing, perspective. The film’s relevance is further amplified by the ongoing conflict between Israel and Hamas-led Palestinian militant groups, which has intensified since October 2023.

At its core, September 5 delivers a profound commentary on the news media’s vital responsibility to prioritize accuracy over speed. In today’s digital landscape, where platforms like X (formerly Twitter) often prioritize being first over being correct, this rush to publish can lead to the spread of misinformation. The film vividly portrays this dynamic, particularly in a scene where Mason wrestles with whether to report unverified news that later proves false.

September 5 is a heart-pounding examination of journalistic ethics, laying bare the high-stakes clash between urgency and accuracy. It’s a masterful film that excels in every aspect of filmmaking and is a must-see for anyone interested in the intersection of media and real-world crises.

And that’s a wrap on the 11 films I saw in Telluride this year. Thanks, as always, for following along.

My ranking of the films I saw this weekend (which I expect may change on a second viewing):