Director Edward Berger delivers a compelling mystery with sprinkles of satire in “Conclave.” In the film, Cardinal Thomas Lawrence (Ralph Fiennes) presides over the papal conclave where Catholic Church cardinals elect a new pope. As the conclave progresses, conspiracies are uncovered, candidates are dishonored and faith is tested. “Conclave,” based on the 2016 novel of the same name, was released on Oct. 25.
The papal conclave, with all its secrecy and formality, is a peculiar ritual that is ripe with dramatic potential.
During the election, the cardinals are confined to the Apostolic Palace, completely isolated from the outside world. In modern times, great measures have been taken to prevent the flow of information, including the use of electronic devices to detect “bugs” and blocking wi-fi access to the entire Vatican City. The voting process — which can take days — requires a two-thirds majority to conclude.
“Conclave,” adapted from author Robert Harris and captured on screen by Berger, smartly transforms the occasion into a sort of chamber drama.
Sealed inside the palace, four main candidates for the papacy emerge: the liberal Aldo Bellini (Stanley Tucci), conservatives Joseph Tremblay (John Lithgow) and Joshua Adayemi (Lucian Msamati) and traditionalist Goffredo Todesco (Sergio Castellito). When rumors of the candidates’ corruption begin to spread, Lawrence takes it upon himself to investigate. The film skillfully builds suspense, intensifying tension as the conspiracy deepens and the voting narrows.
“Conclave” strikes an ominous tone, attributed in part to the bold visual themes of red and black, Stéfane Fontaine’s portentous cinematography and Fiennes’ captivating performance. Lawrence serves as the audience’s surrogate, deeply troubled by the depravity that permeates even the highest levels of the Catholic Church.
The film cleverly identifies many of the ironies surrounding the church’s modern leadership.
Throughout the film, the characters wear traditional Catholic robes that starkly contrast the modern products that creep their way into the palace. In brief moments, the cardinals can be seen on their iPhones, using a Nespresso machine and one even vapes. These elements serve as both absurd visual gags and subtle commentary. The film astutely points out how strange it is that the church, in all its archaic tradition, persists to this day — and with such great influence.
The film also highlights a glaring inconsistency between the cardinals’ religious duties and their moral ambiguity. The conclave, intended to determine the new pope through the Holy Spirit’s guidance, instead resembles a political election. There’s campaigning, compromises, factions and even bribery. Many of the candidates seek the papacy not for the welfare of the church but for their own self-interest.
This political aspect drives the narrative, allowing the film to explore various perspectives within the church. Liberals and conservatives — divided on social issues like homosexuality — unite against a common enemy in the traditionalists. This conflict mirrors real-life dissension within the Catholic Church. The traditionalists, who plan to reinstate Latin as the language of mass and have little tolerance for other religions, would undo decades of progress.
“Conclave” also comments on the lack of female representation in the church’s hierarchy. There are no female cardinals; to be involved in the church, women must serve as nuns. The film presents the nuns as servants, expected to be silent and perform housekeeping duties in the palace. This is combated by the head nun Sister Agnes (Isabella Rossellini), who accumulates knowledge essential to unraveling Lawrence’s mystery despite being underestimated by men.
Though “Conclave” raises many criticisms against the church, they are aimed more so at the institution than the religion. The film is actually quite sincere and respectful in its portrayal of faith, which is a major theme throughout. “Conclave” ponders important questions like how to keep faith in flawed systems and what losing trust in those systems means for one’s own faith in God. These questions — which plague Lawrence throughout the film — are answered near the end in a surprising twist.
“Conclave” is expected to have a large presence at the Oscars in 2025, with Variety predicting a win in adapted screenplay and nominations for best picture, director, actor, supporting actor, supporting actress, cinematography and film editing.
“Conclave” isn’t necessarily saying anything new; many of the film’s ideas have been discussed at length in the media and should be fresh in the minds of most viewers. Where the film stands out is in its design. “Conclave” is simultaneously a mystery, thriller, drama and satire — and miraculously succeeds at being all of them. The film strikes a good balance of tone, crafting a genuinely investing drama while acknowledging the comical self-seriousness of the conclave. It may not be the flashiest movie of 2024, but “Conclave” is nonetheless one of the best films of the year.
Drew Askeland is an Arts & Entertainment Staff Writer. He can be reached at daskelan@uci.edu.
Edited by Lillian Dunn and Jaheem Conley.