Cast: Ralph Fiennes, John Lithgow, Stanley Tucci, Isabella Rossellini
Genre: Drama, Thriller
Director: Edward Berger
In Irish Cinemas: 29th November 2024
“We are mortal men who serve an ideal. We are not always ideal.” These words encapsulate the essence of Conclave, director Edward Berger’s gripping and thought-provoking adaptation of Robert Harris’ 2016 novel. Fresh off his 2022 Oscar-winning triumph with All Quiet on the Western Front, Berger approaches Harris’ suspenseful narrative with a deft hand, transforming it into an intelligent, slow-burning mystery with a powerful emotional and dramatic impact.
At the heart of the Conclave lies the most intricate and ritualistic practice of the Catholic Church: the selection of a new pope. In this process, a society of cardinals retreats to the Vatican, isolating themselves from the outside world for days of intense deliberation. The event’s secrecy, rich pageantry, and the political ambitions lurking beneath the surface offer fertile ground for the film’s blend of psychological intrigue and character-driven suspense. The tension is palpable as each cardinal’s motivations and ambitions come into question, exposing the dangerous intersection of faith and personal power.
The screenplay, adapted by Berger and Peter Straughan, treats the material with an unwavering seriousness, eschewing satire or ridicule of the Church’s seemingly antiquated traditions. Instead, the film presents a nuanced critique, peeling back the layers of the cardinals’ ostensibly pious exteriors to reveal the self-serving ambitions and human flaws beneath. By doing so, Berger examines the profound irony of men tasked with embodying divine ideals yet often succumbing to their worldly desires.
The result is a compelling, tightly crafted drama that not only entertains but also provokes deeper reflection on the frailties of those who claim to serve a higher power. Berger’s direction, coupled with the screenplay’s incisive exploration of faith, power, and morality, ensures that Conclave is more than just a political thriller—it’s a profound meditation on human imperfection within the sacred halls of religion.
The Conclave opens after the Pope’s death, plunging the Catholic Church into its most sacred and politically charged ritual: electing a new pontiff. Over the next seventy-two hours, Cardinal Lawrence (the Dean of the College of Cardinals) and Cardinal Lawrence (Ralph Fiennes, delivering a career-defining performance) lead the secretive and intense deliberations. As the conclave begins, Lawrence faces the monumental task of uniting a deeply divided Church and a profoundly personal struggle: a crisis of faith that could not have come at a worse time. Despite his inner turmoil, Lawrence is determined to guide the Church into a more progressive future, pinning his hopes on his longtime ally, Cardinal Bellini (Stanley Tucci, in a role that showcases his immense talent). Bellini, the Secretary of State, is a compassionate and visionary figure whose inclusive theology aligns with Lawrence’s vision of a Church that embraces the modern world.
Lawrence and many others in the Vatican grieve the loss of the late Pope, a leader who commanded respect across ideological divides. However, the task before him is immense. The College of Cardinals is rife with conservative factions resistant to change, and Lawrence must navigate the delicate politics of faith and power to rally support for Bellini’s candidacy. The challenge is compounded by ultra-conservative and even morally dubious figures among the electors, each vying for the papal crown.
As cardinals and archbishops from around the globe gather in the Sistine Chapel, the conclave becomes a microcosm of the world’s political and moral struggles. Cardinal Tremblay (John Lithgow, at his sharpest) emerges as a dark horse contender, a man whose ambition and questionable ethics make him a dangerous player. Meanwhile, Cardinal Adeyemi (Lucian Msamati) commands significant support and offers the historic possibility of becoming the first Black pope. However, his regressive stance on homosexuality and a profoundly troubling secret make him an untenable choice for Lawrence. On the far-right fringe, Italian Cardinal Tedesco (Sergio Castellitto) channels the rhetoric of modern populism, using xenophobia and bigotry, and calls for a return to the Church’s militant past to galvanise support. Tedesco’s vision of Catholicism evokes the days of the Inquisition, offering a chilling glimpse of a potential future under his leadership.
Amid the election drama, Sister Agnes (Isabella Rossellini, in a quietly powerful performance) oversees the nuns assigned to serve the conclave. These women, relegated to preparing meals, refilling drinks, and tending to the cardinals’ comfort, represent the Church’s entrenched patriarchy. Their voices are silenced, and their presence is deliberately minimised. Agnes, however, carries an air of quiet dignity, her restrained performance offering a subtle critique of the systemic inequality that defines the Catholic hierarchy. When Lawrence attempts to broach the subject of women’s roles in the Church, he is sharply rebuked by a fellow bishop who curtly dismisses the issue: “Don’t bring up women.”
Conclave vividly portrays a Church at a crossroads, its ancient traditions clashing with the pressures of modernity. At its centre is Cardinal Lawrence, a man wrestling with his doubts as he seeks to balance faith, politics, and morality in his quest for a leader who can guide the Church into an uncertain future.
The unexpected arrival of Cardinal Benitez (Carlos Diehz) sends shockwaves through the Vatican’s fragile and distrustful atmosphere. The late pope secretly appointed Benitez as the Archdiocese of Kabul, and his sudden presence raised questions and fueled speculation among the clergy. Shrouded in mystery, his true purpose hides a secret so profound that it threatens to upend the Church’s very foundation and principles.
Conclave is a gripping and thought-provoking film that delves into the intersecting themes of ambition, faith, and human fallibility. It poses an intriguing question: do those who aspire to the papacy genuinely serve the greater good or are their motives driven by personal ambition? The narrative resists the simplistic dichotomy of saints versus schemers. Instead, it portrays the Vatican’s leaders as deeply devout yet inherently flawed individuals—men whose humanity exposes them to the same temptations, hypocrisies, and secrets as anyone else. The film boldly examines the contradiction between the Church’s message of forgiveness and its underlying culture of judgment and concealed sins.
The screenplay is richly layered and offers sharp commentary on the duality of faith and power, though it occasionally stumbles into familiar tropes. For instance, the characters played by John Lithgow and Sergio Castellitto sometimes verge on caricature, their antagonism too overt to feel fully nuanced. However, the film’s artistic elements and direction elevate the material.
Roberta Federico’s remarkable art direction and Volker Bertelmann’s meticulously crafted score work seamlessly with Stéphane Fontaine’s stunning cinematography. Fontaine transforms the grand beauty of the Vatican’s architecture into an imposing, almost menacing backdrop, reinforcing the film’s tone as a political thriller. The aesthetic draws on the elegance of Agatha Christie’s intricate mysteries while channelling the visual and narrative sophistication of Alan J. Pakula.
Under the steady hand of director Edward Berger, Conclave masterfully balances its profound exploration of faith with moments of palpable tension. The result is an intellectually engaging and emotionally gripping dramatic thriller. Aimed at discerning adult audiences, the film is an absorbing exploration of power, morality, and the complexities of human nature.
Overall: 8.5/10
Movie Reviewer
