THE STORY – Cardinal Lawrence is tasked with leading one of the world’s most secretive and ancient events, selecting a new Pope, where he finds himself at the center of a conspiracy that could shake the very foundation of The Church.
THE CAST – Ralph Fiennes, Stanley Tucci, John Lithgow, Lucian Msamati, Carlos Diehz, Sergio Castellitto & Isabella Rossellini
THE TEAM – Edward Berger (Director) & Peter Straughan (Writer)
THE RUNNING TIME – 120 Minutes
Following up his Academy Award-winning WWI film “All Quiet On The Western Front,” director Edward Berger returns with “Conclave,” a meticulously constructed thriller based on the novel of the same name by Robert Harris. Releasing during an election year here in America may draw more extreme parallels to today’s society than if it were released any other year. Still, there’s no denying the timeless quality of Berger’s film as man’s quest for power is as traditional as it gets and has, sadly, never faded away. Peter Straughan’s well-crafted screenplay pulls back the ornate curtains of the Vatican to reveal a world rife with ambition, conspiracy, and hidden secrets.
The Pope has just died, and Cardinal Lawrence (Ralph Fiennes), the Dean of the College of Cardinals, finds himself at the center of a tense and complex election process. As Lawrence takes on the responsibility of overseeing the selection of the new Pope, he must maneuver through the complex power struggles of the leading contenders: the hardline conservative Cardinal Tedesco (Sergio Castellitto), who wishes to bring the Church back several decades in reform, the soft-spoken but shrewd liberal Cardinal Bellini (Stanley Tucci) who is a dear friend of Lawrence’s, the calculating Cardinal Tremblay (John Lithgow) who is harboring a secret of his past and Cardinal Adeyemi (Lucian Msamati) a Black member of the conclave who also may have a secret to hide. Meanwhile, Sister Agnes (Isabella Rossellini), a nun weary from years of service within a male-dominated hierarchy, makes a strong, albeit brief, impact that highlights the Church’s ongoing challenges with inclusivity and reform—at a pivotal moment when it could either embrace progress or retreat into the past.
“Conclave” is not just a story about the election of a new Pope; it’s a gripping examination of the human thirst for power, ego clashes, and moral dilemmas that unfold, even for men who are meant to be seen as divine and free of sin. Early on in the film, Lawrence and Bellini are in the late Pope’s headquarters (they were his closest friends), and they come across a chessboard, which becomes a powerful metaphor for strategic maneuvering within the conclave. As pieces shift on the board, so too does the power struggle for the papacy, mirroring the complex and often morally ambiguous tactics employed by the cardinals.
Lawrence, a noble figure for the audience to follow, does not wish to be Pope like some of his colleagues and is going through his own crisis of faith where even if he selfishly wanted the position feels he’s unworthy. Mirroring our political systems where Church and state are not meant to mix (but inevitably do), these are men who serve an ideal even if they are not ideal candidates. But a choice must be made. Three weeks following the Pope’s death, the conclave is sequestered (while the walls of the Vatican undergo heavy construction and religious extremist threats grow outside) until that final decision is made, going through several rounds of voting (72 votes are needed to win), with allegiances shifting and votes going in directions Lawrence could not have predicted. Smartly written, without any profanity (these are men of God, after all), the dialogue directly compares this election to political elections in America, asking audiences to draw parallels to today as characters acknowledge the superficial diversity and underlying prejudices within the Catholic Church. It may be too on the nose for its own good in these moments but at least its intentions are clear.
Berger directs this outstanding cast through a story that echoes the behind-closed-doors scheming and backstabbing of television shows like “Game of Thrones,” “Succession,” and “House of Cards.” The cinematography is exacting, drawing comparisons to the work of David Fincher and his DPs. The film’s pulse-pounding score (courtesy of Academy Award-winner Volker Bertelmann) and immersive sound design amplifies its claustrophobic and suspenseful atmosphere, making every moment feel stressful due to what impending revelation may come next. The editing is brisk, knowing when to slow things down to draw us into Lawrence’s mindset as he tries his best to do the right thing among so many moving components and when to ramp the pace up to keep the tension high. Although the outcome of who eventually wins the papacy may feel predictable, Berger’s team in front and behind the camera keeps the twisting narrative engaging throughout.
Speaking fluent Italian and harboring a tremendous weight on his aging shoulders, Fiennes is utterly compelling as Cardinal Lawrence, a man who harbors his own crisis of faith—not in God, but in the flawed institution of the Church and its deeply human, often petty, members. His powerfully nuanced performance is complemented by a strong ensemble, with each actor equally delivering standout moments. Stanley Tucci’s Bellini, seen as the ideal candidate for the papacy due to his progressive views and reluctance for power, starkly contrasts Castellitto’s conservative Tedesco, whose fiery nature threatens to disrupt the delicate balance of the conclave. The final outcome is further heightened by the unexpected arrival of Cardinal Benitez (Carlos Diehz), a mysterious figure from Kabul, Afghanistan, whose presence introduces additional uncertainty into the already fraught proceedings. “Conclave” doesn’t shy away from critiquing the Church’s claims of diversity, highlighting how women, like Sister Agnes, remain relegated to positions of lesser power despite the institution’s self-proclaimed progress. Rossellini makes the most of her limited screen time, delivering a quiet and profoundly resonant performance even through the slightest of glances.
While “Conclave” occasionally dips into over-the-top levity through the sheer absurdity of its plot and dramatic theatrically of its ever-evolving narrative, it never loses sight of its core themes: the pursuit of power, the complexity of faith and the human imperfections of those who serve a higher power and a greater good. Its controversial ending will undoubtedly bring about a lot of heavy discussions, but perhaps such uproar and upheaval is needed in a time where so many institutions are broken and untrustworthy to the public, and that will be the audiences’ main takeaway rather than the contents of the reveal itself. Berger’s precise direction, combined with the film’s exceptional cast and a screenplay that adeptly balances intrigue with introspection, results in a thought-provoking and entertaining thriller. “Conclave” is a reminder that in the world of high-stakes elections, whether religious or political, true idealism is often overshadowed by the harsh realities of institutional corruption and human imperfection.
