Conclave’s simmering energy offers a masterclass in tension and intrigue. Every frame is meticulously composed with lush visuals enhancing the film’s dual layers of thrills: the intimate drama of its characters and the grand spectacle of a centuries-old ritual. The movie dramatises the secretive process of the Catholic cardinals convening to elect a new Pope. While rooted in a rarefied world, the film draws subtle parallels to contemporary struggles for power and morality, making it resonant and relevant.
The main drawing card for Conclave is its intricate details that reveal universal truths. You will find yourself absolutely mesmerised by the arcane mechanics of the selection process. The smoke signals, the whispered alliances, and the rituals involved with election. Within the politicking and pontificating lies a human drama. Ambition clashes with humility, progress battles tradition, and moments of doubt juxtapose with steadfast faith. The Cardinals are painted as flawed, multifaceted individuals: reminding us that beneath their ornate robes, they are, indeed, earthbound men.
Ralph Fiennes commands attention as Cardinal Lawrence, the conflicted Dean of the College of Cardinals, whose inner turmoil propels much of the film. When the Pope dies, Lawrence’s task is to oversee the conclave, a mission that forces him to navigate the treacherous waters of scandal, ideological divides, and the lingering question of the relevance of the Catholic Church.
The film opens with Lawrence rushing to the dying Pope’s side; his trusted mentor and friend, a moment of heavy breathing and urgency that sets the tone for the whirlwind ahead. Especially as the Cardinals struggle to remove the Pope’s ring before his body has had a chance to cool. The ensemble cast delivers performances that complement Peter Straughan’s compelling adaptation of Robert Harris’ novel. John Lithgow portrays a candidate whose relentless campaigning teeters on the edge of impropriety. Lucian Msamati shines as an African bishop whose selection could symbolise a new era of inclusivity. Stanley Tucci’s Cardinal Bellini is a reasonable liberal voice, but his progressive views make him a polarising figure. Meanwhile, Sergio Castellitto’s Cardinal Tedesco embodies reactionary zeal, advocating for a return to rigid orthodoxy. Isabella Rossellini is the silent star here, her commanding presence as a nun who, despite her perceived invisibility, observes and influences with subtle power.
Cinematographer Stéphane Fontaine captures the grandeur of the Vatican. The cardinals’ vibrant robes, the Swiss Guards’ striking striped uniforms, and the awe-inspiring architecture, including the Sistine Chapel, create a glorious visual tapestry. One particularly breathtaking moment involves the voting cardinals crossing a square in the rain. The white umbrellas, the red tops and cream pants are shown from a top-down view as they slowly move around. The visual palette contrasts with director Edward Berger’s previous film All Quiet on the Western Front, a harrowing depiction of World War One.
The film’s rhythm is akin to a game of chess, with each move revealing a new layer of strategy and manipulation. At times veering towards a kind of campiness, with revelations and rumours bouncing between the cardinals like a farcical game of whispers. Yet even its most outrageous moments, including a jaw-dropping final twist, feel earned and deliberate like a perfect puzzle piece snapping into place
Conclave is a smart, provocative, and edge-of-your-seat drama. It challenges you to rethink your initial impressions about each character and their motivations. With its unforgettable performances and masterful storytelling, Conclave is easily one of the standout films of the year.
Conclave is in cinemas now courtesy of Roadshow Films.
