‘Conclave’ (2024)

A fictionalized dramatization of the secretive selection process for the papacy of the Catholic Church, ‘Conclave’ follows Cardinal Lawrence (Ralph Fiennes) as he takes on the role of the dean of the College of Cardinals. Concurrently dealing with personal struggles, Lawrence takes on the role and dives deep into the process as he subsequently has to scrutinize the private misdoings of the candidates.

Inviting the unanointed behind the closed doors of the conclave, director Edward Berger delivers his interpretation of the deeply hidden practice of electing the next Holy Father. Opting to deliver the selection process via a nail biting thriller is inspired, as it depicts the selection process with an impeccable sense of urgency, importance and intrigue.

Viewed through the eyes of Cardinal Lawrence, Fiennes takes on the role of a burdened cardinal. Guiding the gathering, Lawrence is oftentimes reflected to be up for consideration as Pope himself, through the votes he gathers at each ballot. Revealed to have tried to resign, with the Pope having refused his resignation, Fiennes delivers a man overwhelmed by his responsibilities, having doubts about his faith and having difficulties in prayer. Witnessing the petty squabbles of the other cardinals, Fiennes manages to express an array of sentiments, raging from despair to anger, sympathy and regret. Ultimately accepting his designation, the man carries out his duties as they are bestowed upon him.

With an outstanding supporting cast, ‘Conclave’ presents a slew of excellent performances through Stanley Tucci as Aldo Cardinal Bellini, John Lithgow as Joseph Cardinal Tremblay, Isabella Rossellini as Sister Agnes, Lucian Msamati as Joshua Cardinal Adeyemi and Sergio Castellitto as Goffredo Cardinal Tedesco.

Representing the warring factions, Tucci’s Bellini being a liberal stands for a progressive and forward looking church, acknowledging the shift in public opinion towards a more open and inclusive church, whilst Casttellito’s Tedesco stands firmly as far-right traditionalist, aiming to return the church to its more archaic ways and values.

With circumstances leading to a head on collision between the two, Bellini loses traction and opts to throw his support behind Lithgow’s Tremblay, a moderate. Subsequently uncovering treachery via simony, blackmail and attempts to besmirch other candidates’ names, Fiennes also takes on the role of investigator as he leads the group through upset and turmoil, all playing fantastically off each other whilst providing for deeper personal insights into each characters multifaceted personas.

Mourning the death of the Pope openly for the first time in private after having broken into the Pope’s chambers in search for evidence against Tremblay, Fiennes cements the performance as one of his highest achievements to date. With a nuanced character that bears the burden of possibly becoming Pope, having to wrangle the conclave and having to deal with his personal issues, the role is executed to perfection as the weight of the world bears down on Fiennes and translates immaculately as his performance leaps off the screen.

Overflowing with tension, the film catapults to the forefront the bickering of the different factions of the church behind closed doors. With the highest ranking members of the Catholic church revered and praised by the committed christian followers, the film chooses to depict the men in a much more harsh light. Illustrating the upper echelons of the clergy as fallible, their human nature overshadows their duty to God.

With some candidates more pronounced than others, ‘Conclave’ sensationalizes the selection process and depicts treacherous conspiracies and damning behaviors from those who the people are bound to trust the most. Intricately woven webs of agreements, deeply unpopular stances and mislaid truths present the election as a race for what people can choose to stand behind, resorting penultimately to opt for the least unpalatable option.

Mirroring the current global political arena, ‘Conclave’ reflects the scarcity of common ground, rampant disagreement and the unwillingness to compromise. Depicting the different factions as aggressively opposed to one another, the film finds a way to echo turmoil that divides so many nations today.

With candidates dropping out of the race one after the other, the film delivers unprecedented and exciting results as the selection concludes on the little known Cardinal Benitez (Carlos Diehz). Appointed in secret by the Pope to cardinal status, the quiet and modest cardinal makes his way from an unknown to the ultimate pacifier.

Delivering a sincere insight to his own background, Diehz shines as Benitez delivers a retort to Cardinal Tedesco’s hate fueled rant against Muslims, in trying to rally supporters behind him. Highlighting the division in our world however, Diehz commands the room when inspiring others to consider that war is not the answer to anything, having experienced horrors as missionary in the Congo, Iraq and Afghanistan. Delivering a bombshell of revelation, Benitez invites the conclave, and the audience, to look inward and appreciate that the Church is not purely tradition and factions, rather the Church will persist based on what the group and the Christian followers do next.

As a final twist, the film delves further into discussion about a topic that is very sensitive, inflammatory and difficult to discuss without resorting to subjectivity casting a shadow on the conversation. Cardinal Lawrence learns that Cardinal Benitez, now already selected as the next Holy Father, is intersex. With Benitez having learned of this only as an adult, Benitez and the Pope had discussed this, with the Pope making him cardinal regardless.

Having arranged for a laparoscopic hysterectomy in Geneva thereafter, Benitez had ultimately decided against it, stating that ‘I am as God made me.’ Staged as a very private discussion between Benitez and Lawrence, the film allows for the two to express their concerns. With a rational and calm approach, the two listen to each other and take the situation on board as it is presented, with Lawrence accepting Benitez as he is, choosing not to share his secret with anyone else.

Quiet yet powerful, the scene denotes the importance of being able to listen to one another and strikes deep when addressing such a delicate topic. Without hitting the viewing audience over the head with it, the short exchange speaks volumes towards acceptance and inclusion, without prejudice.

Depicting the cardinals and archbishops as a congregation of men concerned more with power, Rome and pushing their individual agenda, the film highlights the shortcomings of our perception of ideology. Through Benitez, we are all invited to consider ourselves going forward. Christian or otherwise, the film guides one to be more introspective and consider the needs of others, to be tolerant and honest, to let go and not harbor hatred.

Overly sensationalized but powerful none the less, the fictionalized ‘Conclave’ delivers the innermost workings of the church and explores, on a very personal level, the dynamics that drive the organization. With the director choosing to conclude heavily on the notion that the church is not a place where division and certainty should rule, the film advocates for acceptance and understanding, unconventional though as that may be.

Score: 4/4