Conclave (Berger, 2024)

 Written by Andie Kaiser

Based on the 2016 novel of the same name, Edward Berger’s Conclave depicts the selection process of a new pope, with the conclave being led by the rather stressed Cardinal Lawrence (Ralph Fiennes). Boasting a formidable cast, the film lets its performers have a lot of fun with their roles: full of hushed arguments in darkened hallways, monologues about duty and power, and scathing one-liners, the performances are guaranteed to be crowd-pleasers.

I particularly loved Isabella Rossellini’s performance as Sister Agnes, the head caterer and housekeeper for the conclave. Though she doesn’t get to speak until well into the film, her presence is felt each moment she’s on screen. I wish she got to have more of a role overall, but in many ways the nuns in Conclave embody the very real kind of silencing faced by women in the church. 

While the film could have taken a very dry, period-drama-esque route, Conclave leans into its soapy qualities, which serves it well. It’s a film that’s most entertaining when treated as pure entertainment–the kind of thing that’s elevated enough to shift beyond the realm of guilty pleasure while still maintaining all the fun trappings. While certainly not a comedy, Berger clearly had fun with many elements of the story: Cardinal Tedesco (Sergio Castellitto) carries a bright red vape around the Vatican, Cardinal Lawrence struggles to operate a photocopier, and Sister Agnes curtseys after making a speech in the same way one might do a mic-drop. 

Stéphane Fontaine’s cinematography is also one of the film’s standout elements; the already-dramatic setting is complemented by wonderfully-constructed shots that highlight the power dynamics and shadowy elements of the Church. We see nuns that huddle in corners away from the Cardinals, quite literally having been put in the shadows. In overhead shots, groups of Cardinals gather in clusters across the screen, highlighting the different factions of the Church. Colour is also used to great effect: as well as within the Cardinal’s extravagant costumes (which feature heavily across the film), vibrant shades of red crop up in many scenes, matching the film’s sense of drama.

This sense of drama is propelled by enough twists and turns to have your head rolling by the end. As we watch Cardinal Lawrence attempt to get to the bottom of numerous schemes, it’s almost impossible not to get caught up in the intrigue, however fictional it may be. The film’s political themes are also clearly aiming to tap into current discussions about American politics– questions about progress versus tradition, and the ethics of selecting the “least bad” candidate are posed not-so-subtly throughout the film. I won’t spoil Conclave’s final twist, but it’s likely not at all what you’d guess: tacked onto the end of the film, I was left hoping that there had been a bit more build-up to this final moment. But maybe the intention was simply to baffle audiences, and have them continue to think after the credits rolled. In that case, I think it’s safe to say it succeeded.  

Photo credits to Elevation Pictures.