Conclave: In the Name of the Father, the Son, and the Holy Power

The film commences with the demise of a sitting pontiff and the initiation of Sede Vacante, the Vatican's interregnum.

Inquire about the democratic voting methods of Western nations or the less democratic mechanisms of certain Arab regimes, and I can provide you with valuable insights. Inquire about the choosing procedure of a new Pope, and you will discover that my expertise is as limited as the Papal wardrobe. Fortunately, German-born Swiss director Edward Berger addresses the gap with his latest film, Conclave.

The film commences with the demise of a sitting pontiff and the initiation of Sede Vacante, the Vatican's interregnum. Thereafter, the responsibility of supervising the election is assigned to Cardinal-Dean Thomas Lawrence, portrayed by Ralph Fiennes. Fiennes portrays Lawrence with adept subtlety, eschewing the arrogant superiority one might anticipate from an individual in his role, instead embodying a subdued uncertainty. As the narrative progresses, it becomes evident that the uncertainty stems from his internal struggle with faith. As the Cardinals are isolated in the Sistine Chapel, the film's themes are grounded in religious schisms, political rivalries, corruption, and, predominantly, the desire for power. The film resembles an allegory more than a fictional tale.

Ralph Fiennes

Cardinal Tedesco, portrayed masterfully by Sergio Castellitto, serves as the film's principal antagonist. A seductive yet malevolent figure, who personifies contemporary Italian right-wing populism. He advocates his explicitly racist and Islamophobic rhetoric through disingenuous parody and speaks with the confidence and machismo derived directly from the playbook of the imminent U.S. president. His adherents, akin to several prominent advocates of Trump, align with him not due to faith or conviction, but rather for pragmatic self-preservation. They saw in him a mechanism to preserve their diminishing power and privilege in a more secular world.

Stanley Tucci

Cardinal Bellini, portrayed by the perceptive Stanley Tucci, lurks in the shadows, issuing warnings in dimly lit passageways. Bellini embodies modern liberalism and serves as a voice of reason and optimism. He apprehends that the election of an individual such as Tedesco will reverse significant advancements the Church has achieved in recent years, especially in its engagement with marginalized communities—groups that the Church has historically ostracized, reviled, and condemned. It is a confrontation not merely of individuals, but of epochs.

The picture exhibits an almost antiseptic aspect, reflected in its set design. The majority of the film's drama transpires within the prison-like chambers and corridors of Domus Sanctae Marthae, a hotel-style housing for the Cardinals. A distinct sound of sucked air emanates when the door to a chamber is closed, suggesting that these rooms serve as the sole sanctuary for the Cardinals—a space where they can authentically express themselves and their thoughts. The cinematography is pristine and understated, effectively avoiding distraction from the film's narrative, in contrast to the haphazard and unsteady handheld camera techniques seen in many contemporary films. Conversely, deliberate effort is evident in the blocking of character movements, enhancing the aesthetic quality of the frames. The beauty is enhanced by the immaculate blood-red and cream vestments of the Cardinals, along with the exquisitely frescoed ceilings of the Sistine Chapel.

The film advances with escalating intensity, culminating in an event that transforms the narrative's conclusion. The tension is heightened by ominous and forceful strings interlaced throughout the sequences, composed by Volker Bertelmann, who received an Academy Award for his prior cooperation with Edward Berger in All Quiet on the Western Front.

Conclave is among the finest films I have encountered in recent years. Its brilliance resides in its capacity to reflect the prevailing political mood, rendering it an impeccable mirror of contemporary society.