The Sistine Chapel filled with cardinals gowned in red, placing their votes for who will be next to fill the most holy seat, is a familiar scene. The election of a new pope and the papacy itself have been explored in film before, but never quite like this. Edward Berger’s Conclave, based on the novel of the same name by Robert Harris, thoroughly examines the politics behind this electoral system, revealing a rot that mirrors our own politics. This thriller, which veers into procedural drama, reveals a Church more fractured than ever before, and it risks losing the faith it preaches to institutional corruption.
It’s the eve of the conclave. The pope is dead. The dean of the College of Cardinals, Cardinal Lawrence (Ralph Fiennes), didn’t think he’d ever have to preside over a conclave. “You look tired,” his friend, Cardinal Bellini (Stanley Tucci), tells him. This is a duty that Lawrence doesn’t seem ready for. Namely, because he’s been thinking about leaving Rome. He’s been struggling with prayer, but he’s not the only one struggling with faith. It’s revealed that the late pope had lost faith in the Church and that many cardinals had lost faith in him. The film asks the question of whether that faith can be mended.
Conclave plays with the mystery genre as an investigation ensues to catalog the pope’s last day. It seems that his cause of death is in question, something that becomes unimportant to address as the film progresses; however, what takes precedence is Lawrence’s suspicions regarding many of the other cardinals. A swirl of secrets are revealed and accusations are hurled that threaten to divide the Church even more, and a long conclave would signal to followers that the Church is in crisis – something they want to try to avoid. After learning the results of the first vote, Lawrence and others realize that this might be a long process. Friction is formed between the cardinals as many hope to elect an Italian to go back to the old ways, while others desire a pope who can bring the Church close to modernity. Lawrence is one of many who pleads for diversity, which causes a stir. But what will shake the foundations of this archaic institution the most is the arrival of a new cardinal, whose appointment was kept secret.
Conclave provides some of the best sound work and production design. Not only thrilling because of its subject matter, Volker Bertelmann’s score also keeps tensions high throughout the piece. The sound design also allows the audience to be completely enveloped in this environment. The production design is what really stands out, however. We are used to seeing the palatial exteriors of Vatican City, as well as the breathtaking interiors painted in spiritual canvas, but that proves to be just a facade. The rooms in which the cardinals sleep and dine while sequestered are cold and clinical, resembling more like the office building in Severence than a 16th-century basilica.
How the film is strengthened by its technical elements is nothing in comparison to the cast that is assembled here. Everyone is in top form, and it’s hard to determine who comes out the strongest player. As the character who is in charge of the conclave, Fiennes is most prominent but doesn’t take away from those who could be considered supporting, like Tucci or John Lithgow, the latter playing one of the more controversial cardinals. Fiennes’ performance is surprising, as it becomes more emotional as the story progresses; however, it’s actually Isabella Rossellini’s performance as Sister Agnes that’s the most surprising. For most of the film, she’s a silent, stoic figure – for a reason. Women of the Church are supposed to remain invisible. In an act that feels defiant, as the cardinals erupt in outrage over an accusation of corruption, Sister Agnes is the one who silences the room. Rossellini is in command of the space as her character brings the most light to the secrets causing distrust between the cardinals.
We are used to seeing division brought out in politics. We are often made to decide between two candidates on opposite sides. This divide, also seen in the film, creates conflict inside and outside political houses – wars of hate that are difficult to temper. Conclave, one of the year’s best films, is a direct comparison to what has been seen in the United States, especially concerning the upcoming election. One side defines a country by the history of its past, while the other defines a country by the history it has yet to create. It’s up to those with the vote to decide which history they want to be a part of.
Conclave is scheduled to be released in theaters in November.