Hannah Felsbourg
14 December 2024
The Pope is dead. The throne is vacant. His ring, a symbol of his authority, is unceremoniously worked free from his finger — a visceral moment, reminding us that even sacred institutions rest in human hands.
Edward Berger’s Conclave, adapted from Robert Harris’ bestseller, delves into the secretive world of the papal election. After the Pope’s sudden death, the College of Cardinals is sequestered in the Sistine Chapel to elect his successor. Cardinal Thomas Lawrence (Ralph Fiennes), the Dean of the College, reluctantly oversees the process amid a personal crisis of faith. Gradually, he sets aside his discomfort with the role to confront the corruption and political plays that unfold over the course of the conclave.
The film’s focus on humanity is its greatest strength. The cardinals smoke cigarettes, vape, and use iPhones. We see their hopes and ambitions, their failings and triumphs, and their vulnerabilities. Cardinal Lawrence anchors the story and embodies a steady yet conflicted presence. His early sermon, encouraging the acceptance of doubt, reflects the film’s central theme: the coexistence of faith and uncertainty. It also shows the tension between rigid traditions and the sometimes messy but real nature of faith.
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Production designer Suzie Davies’ reimagining of the Domus Sanctae Marthae—the cardinals’ residence during the conclave—transforms an unremarkable space into a prison-like environment. Shut off from the outside world, it’s lit only by clinical artificial light. Coupled with striking red doors and carpets in the hallways, this contributes to claustrophobia and psychological tension, mirroring the locked-up cardinals’ precarious positions.
While Conclave succeeds in capturing the political manoeuvring and moral complexities of its characters, its exploration of these themes feels restrained. The ideological divides—progressive versus traditional, multiculturalism versus nationalism—are intriguing but often reduced to broad strokes. The narrative flirts with profound questions about faith, power, identity, and corruption but leaves many unresolved or underdeveloped, perhaps deliberately so. A few of these elements will also prove to be controversial to some viewers.
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A refreshing element of the film is its multilingual authenticity. Cardinals speak in their native tongues, emphasising the universality and diversity of the Catholic Church. However, the decision to make Cardinal Thomas Lawrence English and Cardinal Aldo Bellini (Stanley Tucci) American rather than Italian as they were in the source novel signals a calculated bid for accessibility and appeal to English-speaking audiences. On the other hand, chosen for his relative anonymity, Carlos Diehz as Mexican Cardinal Vincent Benitez (a Filipino character in the novel) delivered a compelling performance in his feature film debut.
Conclave is a thoughtful meditation on the intersection of the sacred and the human. Its portrayal of flawed, vulnerable leaders grappling with monumental decisions resonates deeply, even if the narrative hesitates to push its themes further. Berger invites viewers to reflect on the burdens of leadership and the tension between tradition and progress, reminding us that faith often lives in the space between certainty and doubt.
In cinemas 9 January 2025.
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