Faith and Doubt Breed Tension in Timely Papal Drama ‘Conclave’

Since 2008 every four years, each new U.S. Presidential election seems to be the most important election. A movie that is directly about one of the political candidates (The Apprentice) makes sense as its purpose is obvious. However, films about the means and back-dealings of elections, though not directly related to government, have their place too. Conclave being released two weeks before the U.S. Presidential election seems very intentional as the film is a battle between conservative and liberal forces wanting to either staunchly regress to the past or progress into an uncertain future.

A conclave is a private meeting, especially a secluded meeting of Roman Catholic cardinals to choose a pope. In Conclave, we arrive just as the sitting pope suddenly passes away. Cardinal Thomas Lawrence (Ralph Fiennes; The Menu) leads the papal conclave as suiters bid to be the new pope. Lawrence dismisses himself as being a manager and because his faith is seemingly shaken, he tells other cardinals that he does not want to become pope. However, that is not exactly the case and, as the film progresses, we learn of Lawrence’s muted ambitions for papacy.

Others bidding for the position, Tedesco, a deeply traditionalist cardinal who wants to reverse all social and religious progress the previous pope made, Bellini, a liberal who wants to continue diversity and tolerance, Adeyemi and Tremblay, both conservative and described as poor choices by Lawrence and Bellini, and finally Benitez, a newcomer with a murky past that quickly gains support. Lawrence is meant to campaign for Bellini (Stanley Tucci; Spotlight), but with each round of voting, Lawrence gains supporters as Bellini loses them.

Conclave derives from a Latin word meaning “room that can be locked up”. The film takes place mostly in tight, dark rooms. To avert possible spies from listening during ballot counting, security doors are installed on windows shutting out natural light. Lawrence believes a few cardinals will feel claustrophobic because of the cave-like atmosphere that is created. In fact, it is the audience that is made to feel suffocated during the film’s heightened moments. There is a challenge in making important men talking in small rooms visually appealing. Director Edward Berger (All Quiet On The Western From, 2022) and cinematographer Stéphane Fontaine do a masterful job in keeping the audience enclosed and on edge. With up-close photography and having us live in the profiles of our characters, we are meant to decipher their faces with each new truth and secret that is exposed. The score, composed by Volker Bertelmann, is dramatically rotund and magnifies the film’s stakes. 

Throughout the film, we see the clashing of bickering parties, and the audience can extrapolate this question of past vs. future to the current political and social landscape. The first important scene of Conclave is just before voting starts when Lawrence makes a speech commencing the proceedings. In a speech that was expected to be straightforward and basic, Lawrence makes a turn:

The one sin I have come to fear more than any other is certainty. Certainty is the great enemy of unity. Certainty is the deadly enemy of tolerance… Our faith is a living thing precisely because it walks hand in hand with doubt. If there was only certainty, and if there was no doubt, there would be no mystery and, therefore no need for faith.

After the speech, Lawrence slyly says to his assistant, “Didn’t expect me to say anything interesting?” The scene telegraphs the core of Conclave: we are currently in a battle of absolutism, but we need to have faith in moving to a future we have not yet lived.

The performances of Conclave are all spot on. Ralph Fiennes is superb in his coyness and despair. Playing a cardinal going through a crisis of faith creates an interesting disconnect and can allow an actor to explore the many facets of self-doubt. Because Conclave is not an action epic, the performances have to register on a much lower key and still be felt. Fiennes, who functions more as a flawed detective than a religious leader, channels curiosity and sullenness to give a stellar performance. 

Carlos Diehz, as Cardinal Benitez, is, in stature and tone, angelic and tender. Though only used in a handful of scenes, clashing against the other cardinals who are grasping for power, Benitez is used to show us how true faith and tolerance can propel us into a unified tomorrow. A final reveal for his character may be a shock (some might think an unnecessary turn), but it is used to truly test Lawrence’s faith in this uncertain future. Because Diehz is only four years into his acting career, particularly when compared to the veteran actors he is partnered with and against, his performance is a remarkable standout.

Speaking of veteran actors, Stanley Tucci is fiery, fun, and sincere, a trademark of his that his fans have adored for decades. Isabella Rosalini (La Chimera) as Sister Agnes, is the quiet observer of Conclave. Though quite underutilized, her presence is felt in scene-stealing moments. Sister Agnes is tough and smart in rooms where her power and intelligence are never considered as such. Rosalini capitalizes on that same underestimation to deliver a quality performance.

Conclave is a tense political thriller but darts itself with unsuspecting humor to appropriately deflate when the time calls for it. A cardinal toking a shiny red vape in the midst of a traitor being exposed is just the touch to keep the tone from becoming overly serious. It is atmospheric without being a slog, a throwback to when important men talking in rooms gave us some of Hollywood’s most important films like 12 Angry Men. That kind of balance can play well for a potential Best Picture nomination.

Conclave is available to stream on Peacock.

Rating: 4 out of 5 stars