
Lurking within every scene of Conclave is an abundance of questioning, stretching further than the primary proposition of who will be the new Pope. Faith, politics, and gender all swirl together in the trapped world of voting Cardinals. It’s a strong foundation for a film that is intriguing enough as a papal political drama and only grows more alluring with its setting as decadent as its dialogue.
At the center of the new-Pope controversy is Cardinal Lawrence, played with weathered warmth by Ralph Fiennes. Lawrence is not interested in becoming the new pope or continuing as a Cardinal. With his faith dwindling, he’s hoping this election will be his last. Suspicions are raised for him, however, regarding the pope’s death and who is vying for the vacant spot. Something doesn’t seem right, leading to the reluctant Cardinal taking an interest in what hasn’t been revealed about the late Pope and candidates for Pope. Trust is challenged for him as much as faith, making his conflicted investigation more meaningful beyond tearing up the carpet of corruption.
There are plenty of compelling characters stirred into this fascinating thriller, so bound by enrapturing dialogue it’s easy to forget this film is rated PG. Stanley Tucci is in his element as Cardinal Bellini, a conflicted candidate whose progressive views have made him hesitant about the election. John Lithgow boasted an intoxicating performance as Cardinal Tremblay, constantly trying and failing to cover up his shady dealings from the start of the dead Pope’s discovery. While Lawrence and Bellini don’t want the position of Pope, they know who they don’t want to win. Cardinal Tedesco (Sergio Castellitto) makes his racist views apparent, and Cardinal Adeyemi (Lucian Msamati) has extreme sexist beliefs. And then there’s the wild card with the latest arrival of Cardinal Benitez (Carlos Diehz), seemingly the most innocent for his work abroad but still bound by a secret that has drawn him further into the papacy.
One can probably make an educated guess on who the new Pope will be in this scenario, but that’s not the real draw of a film like this. The atmosphere of mystery lurks within the hollowed halls of the papal conclave. Lawrence unearthed scandals ranging from infiltrating emails to discovering physical files in hidden compartments. His waffling procedure of finding the truth makes the reveal more tantalizing. Consider how he interacts with a critical source of intel in the form of Isabella Rossellini’s Sister Agnes. She remains silent in the background for the entire first act, but always occupies the screen in a way where her quiet judgement seems more valuable than anybody else’s. With the Cardinals bound by a distance to the Sisters, Lawrence treads carefully into these waters of looking into discrimination that further clouds the election.
Director Edward Berger constantly lavishes this investigation with astounding cinematography and attention to the decadent. The Cardinals shuffle through the most elaborate structures, where the construction plays an early role in literally setting the stage for the conclave. It’s a treat for the eyes but it also paints a fuller picture of this type of story. There are secrets within the walls and chaos beyond them. Throughout the film, a constant concern for the violence outside the window exists. Sometimes, it literally blows out the windows as terrorist attacks increase and the nationalistic fervor intensifies within. Moments the car bomb explosion are not just exciting but very telling about how the effects of a new Pope will be felt. Inside the safety of papal tradition, a handful of Cardinals will decide a religion’s path for the future and it’s effects will be stronger outside than inside. It’s a problem that Lawrence wrestles with, debating who is most worthy in a sea of suspicious figures.
Conclave is a thrilling chamber mystery anchored by a cast as immaculate as its staging. In addition to being a twisty buffet right up to the final scenes, there’s an intense relatability for a film like this coming out in an election year. Politics has never been rockier with candidates being outright with their racism and sexism views without cover or care. With the rise in right-wing policies sending the world backward, it’s easy to find favor with Lawrence’s reluctance to stay out and Bellini’s frustrations in giving up. Yet the film favors finding some hope in taking risks to right wrongs, giving a voice to those who gave up. This is far more than a film about faith or politics; it’s an existential thriller with a firm pulse for societal dread and the glimmer of promise for a better tomorrow, even if it’s evoked from an aged cast who will never live to see it.