PHOTO BY PABLO LARRAÍN / NETFLIX

Director Pablo Larraín has crafted a trilogy of films concerned with famous women unable to exert control over their lives.

In “Jackie,” the first lady was forced to carry the mantle of her fallen husband, a charge no one should have to carry — and one she was particularly disinterested in. In “Spencer,” the People’s Princess fought for even a moment of her own life amid a rigorously scheduled parade of pomp.

The difference with “Maria,” the director’s new portrait of the opera legend Maria Callas (Angelina Jolie), is that the character is determined to exert control over the film, at the very least — whether the film likes it or not. In fact, she ignores the movie she’s in and begins making her own, conjuring a crew out of thin air and responding to questions no one is asking.

Is that literally true? Is anything verifiable and factual in “Maria,” a portrait more impressionistic than classical? Is Larrain pitting his subject against himself as filmmaker, or is that a more nuanced read of this biopic than is necessary?

It’s up to you — you can take it any way you prefer. Callas doesn’t seem concerned with her audience, which certainly includes the viewers of the film. Spending so much time with an avowedly unreliable narrator creates an effect that is beautiful and beguiling.

But also frustrating. We don’t bother with Callas’ life story, for the most part; this is a glimpse of the last week of her life, a time spent sparring with servants and trying in vain to reclaim a bit of her lost voice, rendered feeble by years of addiction and eating disorders. Such a limited portrait would be more satisfying if the script (by Steven Knight) had the courage of its convictions and stuck exclusively to the format; unfortunately, we dip into flashback whenever a salacious opportunity presents itself. Dalliances with with Aristotle Onassis (Haluk Bilginer) and a deeply unnecessary meeting with John F. Kennedy (Caspar Phillipson) add little.

Perhaps the frustration is the point; perhaps the movie is as uninterested in following rules and structures as Callas is. Jolie’s performance goes a long way to grounding the project, however; she gives glimpses of the sublime quality Callas brought to the opera. In this portrayal, it’s easy to see why the diva (in all senses) was an international celebrity.

There are resonances between Jolie and Callas, as well, adding another layer. It’s a film more ready to be discussed than enjoyed — and haunting enough to demand such debates.

My Rating: 7/10

“Maria” is now streaming on Netflix.