Conclave screened at BFI London Film Festival and is showing in cinemas nationwide from Friday, 29 November.
Although its premise of electing a new pope could make for a moderately engaging drama, Edward Berger’s Conclave packs the intensity of a thriller. With opposing ideologies fighting for control of an institution they think they should own, its building of suspense and playful use of shadows is borderline Hitchcockian. A riveting, pulpy examination of the purity of faith and the temptation of corruption, Conclave turns even the most seemingly mundane of religious rituals into a hypnotic game of power.
Thomas Lawrence (Ralph Fiennes) serves as the Cardinal-Dean of the Vatican. Upon learning of the incumbent Pope’s death from a heart attack, it falls to him to organise the imminent papal conclave, in which the College of Cardinals gather to elect a new Pope. Multiple candidates put their names forward, many of whom have vastly different visions for the future of their church. Organising this sacred ritual is already taxing enough for Lawrence, who has gradually become disillusioned with the church. However, between the politically divided College and the increasing hostility towards the church from the outside world, Lawrence finds his faith and his character challenged in the task of anointing the new Pope.
Conclave proves uniquely timely as its narrative concerns the election process and the institutional corruption that can exist at the heart of democratic procedures, left to the most power-hungry. As Lawrence explains early into the film, his inner crisis is not one of faith but of the church; he’s devoted to God but believes the church has lost its way to opportunism and avarice. He’s painfully aware of the modern-day scandals that surround his institution, whether it’s rampant sexual misconduct or zealousness that goes too far and imposes one’s faith on others. He wants to see the church taken in a new direction, away from this sinful conduct, but doesn’t see how the College of Cardinals won’t tear itself apart in the process. With potential candidates venomously opposing each other, finding little common ground, one cannot help but reflect on the tumultuous nature of many modern elections worldwide.
Vying for the role of Pope are a half dozen candidates, the most prominent being on various ends of the political spectrum. Cardinal Bellini (Stanley Tucci), like Lawrence, is a liberal who is openly accepting of LGBTQ+ rights and believes the church should be welcoming to all religions. Cardinal Tremblay (John Lithgow) is a moderate conservative who would keep things more or less the same. Then there’s Cardinal Tedesco, a radical traditionalist with Trumpian charisma and views on Islam. A lot rides on which of these candidates is victorious, including the fate of the church itself, which could either move with the times or be set back due to the whims of men who value influence over faith and integrity.
Berger, best known for 2022’s All Quiet on the Western Front, is sensational in capturing pressure and anxiety through seemingly simple spaces. The cardinals are all sequestered into the walls of the Vatican during the election process, and Berger and team capture the feelings of entrapment as the process ensues. Tight framing with many close-ups dominates the picture, the Cardinals imprisoned with their fickle voting decisions and inner dreams of ambition. The camera follows Lawrence through tracking shots, rarely ever giving him privacy as the weight of his duties threatens to crush him. The immaculate set designs tower over the characters as if the very history of their religion is looking down on them in judgment. The abundant use of the colour red in their clothing and on the walls of the Vatican is reminiscent of classic Italian pictures like Argento’s Suspiria, but here, red signifies danger as much as the Catholic ideals of sacrifice and devotion. As Cardinal Benitez (Carlos Diehz) observes, the most dangerous men are the ones who want power the most.
These stunning visuals aid in the exploration of harrowing themes. The ease at which democratic processes can be corrupted or taken for granted by those who engage with them, even in good faith, as Lawrence does, is evident as various scandals surrounding the candidates and the late Pope come to light throughout the narrative. Yet, as Lawrence addresses in a speech he makes at the beginning of the conclave, tolerance might be the thing most at stake here. In pursuing power within the church, many forget the teachings they claim to uphold. They proclaim themselves messengers of God, yet actively go against his word by showing loyalty to the institution rather than the Holy Spirit or by wanting to twist religious ideals to suit their own agendas. These men are certain that they are destined for greatness, but as Lawrence powerfully observes, if there is no doubt or uncertainty, then how can there possibly be faith? Only through tolerance of the uncertainties of other people, cultures, and ideas can the conclave strive to achieve unity.
Lawrence proves a fascinating protagonist as he wrestles with what it means to be a man of God within an institution of notable systemic problems, whether it’s the sexual abuse scandals dating back decades or the desires of those seeking the title of Pope. Fiennes embodies the character’s inner anguish magnificently as Lawrence struggles to choose between his duty, diminishing faith, and personal ambitions. Through his portrayal of resilience, masking subdued doubt and disillusionment, Fiennes delivers one of his best-ever performances, his emotional strife amidst the sea of greedy certainty taking us through the suspense and exhilaration of the film’s thriller elements. It all culminates in a twist ending that may seem out of nowhere to some, but to this critic, wraps up Lawrence’s arc on tolerance and devotion to religion in a stellar fashion.
Conclave may seem like just another religious drama, but its execution is utterly nail-biting. The film twists, turns, ponders and scrutinises throughout its runtime, engrossing us with its claustrophobic filmmaking and thrilling lead performance. Like its tormented main character, it provokes reflection and consideration, especially in the wake of contemporary elections, where opposing political views have never been more divided – but continually leaves us mesmerised, even as the weight of doubt and despondency seeks to overwhelm us. Smart and satirical, with suspense and wit, Conclave is one of the best films of 2024.
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