Ralph Fiennes stars as Dean-Cardinal Thomas Lawrence. (Courtesy of Focus Features)
What happens when the most powerful men in the Catholic Church lock themselves in a room, each harboring their own dark secrets, ambitions and doubts? Edward Berger’s “Conclave” gives audiences a look into the world’s most exclusive election, where faith and power collide, and a new pope emerges. But while this film is filled with solemn whispers and ominous stares, it also brings out the delightfully human side of its holy men.
Based on Robert Harris’s 2016 novel of the same name, the film opens up with a bang: the pope is dead.
Protagonist Dean-Cardinal Thomas Lawrence (Ralph Fiennes) is entrusted with the impossible task of wrangling the Church’s cardinals in a conclave (a private assembly) to elect the new pope. With his no-nonsense attitude and deeply ingrained sense of duty, Cardinal Lawrence seems to be the perfect choice to keep things running smoothly. But as the cardinals gather, it quickly becomes clear that the conclave is less a solemn ceremony and more a rumor-fueled gathering where every man has an opinion — and isn’t afraid to share it. The intrigue of the election soon takes a back seat to the very human side of the church’s hierarchy, as petty rivalries, thin-veiled judgements and endless side-eye exchanges take center stage.
This blend of gravity and gossip is where “Conclave” shines. The film’s solemn atmosphere, heavy with the weight of religion and tradition, is broken up by the amusing antics of the cardinals. These men may be dressed in crimson robes and medieval splendor, but they squabble, exchange glances and whisper like colleagues at any workplace. For instance, characters like the skeptical Cardinal Bellini (Stanley Tucci) and the conspiratorial Cardinal Tedesco (Sergio Castelitto) keep the film from ever becoming too self-serious, constantly reminding the audience of the very human flaws at play beneath the spiritual garb.
The tone of this film is set with the technical aspects, which transform the Vatican setting into a character of its own. The cinematography is clean and reverent, bathing the halls in soft light while also capturing the grandiosity of every mural and archway. Not a single part of the frame is wasted, even in its emptiness. The sound design is crisp and precise, giving weight to every whispered secret and resounding footstep in the Vatican’s halls. Add to this the stunning costume design — the cardinals’ rich red robes and ceremonial attire — and the setting exudes a visual splendor that feels both historical and alive. It’s almost impossible to tell that not a single scene of the film was shot at the Vatican itself.
But for all the talk of robe and ritual, make no mistake: “Conclave” has a true mystery at its heart. As secrets about the late pope begin to emerge, and as hidden agendas are hinted at, the film tightens its grip, weaving a suspenseful thread through the web of chatter. The cardinals may indulge in gossip, but the stakes are serious, and it is every man for himself.
As the film unfolds, it peels back layer after layer of mystery and ambition among the cardinals, each revelation drawing us deeper into the Vatican’s hidden world. Every secret, glance and confession seems to build toward a climactic revelation, keeping viewers on edge as we anticipate what lies beneath the surface. But as the story reaches its final twist, the impact falls slightly short of the tension that’s been so carefully cultivated. While there is nothing inherently wrong with the finale of the film, it falls short of grand. It doesn’t quite deliver the shocking punch the audience has been led to expect, and lands more as a gentle nudge, leaving the ending thoughtful but not quite as thrilling as advertised.
Despite a lackluster twist, it still contributes greatly to the overarching conversation being had about the Catholic Church. “Conclave” raises questions about the nature of spiritual authority and the thin line between personal ambition and power. The film very clearly shows the flaws of man and the fragile egos behind the men who are entrusted with guiding millions of souls. This portrayal of the Church touches on themes of hypocrisy, contrasting the humility of holy men and the self-serving competition amongst them. Devout conversation fills the room in one scene, and a few minutes later the Cardinal Tedesco hits the greatest vape hit in cinema history.
The cardinals’ fragile egos are also highlighted with the presence of the sisters of the Church — the silent nuns who work in the shadow of the men. Women are notably absent from the inner workings of the Vatican and are frequently overlooked, but as Sister Agnes (Isabella Rossellini) says, “Although we sisters are supposed to be invisible, God has nevertheless given us eyes and ears.”
These complex characters and simmering tensions are all brought to life by its decorated cast, headed by the one and only Ralph Fiennes. Fiennes infused the character of Cardinal Lawrence with his signature intense subtlety, anchoring the film alongside his fellow castmates. The ensemble cast, from Stanley Tucci’s shrewd Cardinal Bellini to Carlos Diehz’s mysterious Cardinal Benitez, lends depth and vulnerability to the Vatican’s halls. Each performance contributes to the tight atmosphere, making every exchange feel charged with meaning.
“Conclave” is a film that is able to juggle and excel in so many different aspects, and still manage to keep the audience’s eyes glued to the screen. It’s impressive how it balances an intricate story with suspense, humor and technicality, all while never feeling bogged down or rushed in its 120 minute runtime. Instead it moves at a perfect pace, revealing just enough to keep viewers engaged. Armed with this impressive blend of strengths, “Conclave” is quietly becoming a surefire contender for multiple nominations this upcoming award season.
8/10
