Film Review – Conclave

October 25th, 2024 | POSTED BY Sarah Ksiazek

Electing a new Pope is a sacred one steeped in rituals and looking to God for guidance.  On the other hand, it is also a popularity contest or at least one that examines all the potential candidates for how virtuous they are in the eyes of others and God.  Having spent two years in a Catholic middle school, my education on the process may be more robust than the general public, at least the non-Catholics.

Conclave (2024) takes a dramatic look at what happens when a Pope dies suddenly, and the inner circle of the Catholic Church becomes unsteady in its wake.  Three weeks after the untimely death of the former Pope, all of the Church’s Cardinals gather to choose a new Pope.  They arrive from all over the world, guided by the Cardinal Dean, Cardinal Lawrence (Ralph Fiennes), who is tasked with running this process.  Sequestered for the duration, the Cardinals live, eat, and attend the Conclave as a group attempting to shield themselves from outside influences and unable to fact check or investigate things that arise during it.

As with any election that involves selecting a peer group member to a higher power, there are favorites from the beginning.  In this group, there are Cardinals who are more popular due to their politics and views on reform and may appear holier than others.  Those closest to the former Pope become leaders in the race, namely Cardinal Tremblay (John Lithgow), Cardinal Bellini (Stanley Tucci), and Cardinal Lawrence himself.  Others interested in the role are Cardinal Adeyemi (Lucian Msamati) and Cardinal Tedesco (Sergio Castellitto).

Cardinal Lawrence was a member of the former Pope’s inner circle.  Lawrence confided in him that he doubted his faith in prayer and attempted to leave his position as Dean, but the Pope refused.  He is calm and collected until accounts told by others throw him.  Lawrence has already made up his mind to leave his position and does not want to be the next Pope.  He confides in others of his determination and the reasoning behind it.  What evolves are the events that unfold during the Conclave that bring about trepidation in the candidates.

Whether intentional or a quiet nod to its existence, it is evident from observation in this film that nuns are kept in the background.  They are responsible for the behind-the-scenes workings of the Conclave, but they do not participate in it.  They are the cooks, the maids, and the organizers.  As Sister Agnes (Isabella Rossellini) puts it, they are quiet observers but nonetheless have eyes and ears.  The Church is run by patriarchy, and the religion has not included women in its vital workings, but they are nevertheless relied upon.  As one Pope candidate says, he wants the nuns to be more involved in the Church, and many others hiss at such a proposition.  There is no appreciation or possibility for feminism.  Some of the revelations in the story involve the nuns or those of the fairer sex.

The film itself is stunning in its direction and cinematography.  Conclave is director Edward Berger’s first film after winning an Oscar for All Quiet on the Western Front (2022).  The switch from an expansive war drama to one much closer in setting and focusing on a limited set of characters amplifies Berger as an accomplished director.  Certain scenes in Conclave have the potential to become iconic because of how they are framed and shot by cinematographer Stéphane Fontaine.  I keep returning to a couple of scenes that are striking and beautiful amid the chaos of the Conclave.

There is an abundance of exceptional dramatic actors in this film.  It is a draw for the audience to have these actors display their craft in these characters so fervently.  Ralph Fiennes is the central character and goes effortlessly from a trepidatious and presumptive leader to one despairing in the choices put before him.  The concern and choices put before him are evident on his face, even without speaking.  Secondly is John Lithgow’s pompous Tremblay, who plays an unapologetic, scheming man with ease, and the added pomp of hair only adds to his outer appearance of superiority. In the background is Isabella Rossellini’s Sister Agnes, whose quiet demeanor and stern expression hide secrets.

Conclave has character revelations and twists and turns rivaling any soap opera.  In this holy setting, those who exalted themselves by God above the common folk have the most disturbing secrets and betray their faith.  There is a struggle evident in Cardinal Lawrence to stay true to the rules of the Conclave or bend them to root out those not worthy of the position of the Pope.  After all, is he not doing God’s work?  The acting is impeccable, and the film is riveting until its last moments.  Conclave is an unexpected entry into one of the year’s best films.

All Quiet on the Western Front 2022, Brían F. O'Byrne, Carlos Diehz, Conclave, Edward Berger, Featured, Focus Features, Isabella Rossellini, Lucian Msamati, Ralph Fiennes, Sergio Castellitto, Stephane Fontaine