Conclave
James Brown
In Conclave, director Edward Berger (All Quiet on the Western Front, Jack) presents a tightly wound political thriller that feels both timeless and contemporary. Adapted from Robert Harris’s best-selling novel, the film immerses us in the secretive and insular world of the Vatican’s most powerful body—the Sacred College of Cardinals, tasked with choosing the next pope amid clouds of smoke, mystery, scandal, and intrigue. Conclave doesn’t just deliver suspense; it offers a thought-provoking exploration of modern anxieties about power, corruption, and the sins of pride, envy, wrath, and lust, inviting the audience to reflect on these timeless issues in a new light.
The story begins with the sudden death of a sitting pope, throwing the Church into disarray and launching the intense, locked-door ceremony known as the conclave. Political machinations are set in motion as the cardinals gather within the Sistine Chapel. The dean of the College of Cardinals, Cardinal Lawrence, becomes the unlikely hero—a man of faith, duty, and conscience who must navigate through the shadows of power to uncover secrets that threaten the stability of the Church itself.
Berger’s direction is taut and masterful. He keeps the tension escalating with a deft hand, never resorting to cheap tricks or contrived plot twists. Instead, he allows the story’s inherent drama—the weighty decisions, the veiled threats, the whispered alliances—to unfold naturally. Every conversation feels like a chess move, every glance a calculation, and every decision could alter the course of history. With its restrained cinematography and moody, subdued color palette, the film paints the Vatican not as a beacon of light but as a place where shadows grow long, and secrets thrive.
Berger's direction is taut and masterful. He keeps the tension escalating with a deft hand, never resorting to cheap tricks or contrived plot twists.
Ralph Fiennes gives his best performance since Grand Budapest Hotel as Cardinal Lawrence, carrying the weight of the film with an understated but commanding presence. His portrayal of a man grappling with faith, power, and personal doubt is both riveting and sympathetic, adding layers to what could have been a simple tale of good versus evil. Opposite him, Stanley Tucci and John Lithgow shine as formidable figures within the conclave, each exuding a mixture of charisma and menace, hinting at depths of ambition beneath their holy facades. Isabella Rossellini steals every scene she’s in as Sister Agnes.
Conclave’s brilliant script cleverly balances exposition with nuance, dropping just enough clues to keep the audience guessing without spoon-feeding information. The dialogue is sharp, and screenwriter Peter Straughan peppers the story with moments of dark humor that feel entirely earned amid the tension. These moments of levity allow the film to breathe, giving the audience a brief respite before plunging back into the moral quandaries of its characters.
The film also resonates with modern concerns, hinting at the dangers of unchecked power and the need for transparency in governance—themes that feel particularly relevant in today’s sociopolitical climate. Yet, it never feels preachy; Berger wisely avoids overt commentary, trusting the audience to draw its own conclusions from the film’s intricate web of secrets, lies, and redemptions.
Ultimately, Conclave is a sophisticated thriller that succeeds not only in keeping you on the edge of your seat but also in engaging your mind. It’s a film that understands the power of silence, the weight of tradition, and the complexity of belief in a world where nothing is ever quite as it seems. For those seeking a thought-provoking and tightly executed film, Conclave is a worthy choice, reminding us that sometimes the most gripping dramas unfold not in the corridors of power but behind the closed doors of a centuries-old institution.
Final Thought
Berger's masterful direction, the restrained cinematography, and the script's clever balance of exposition and nuance set the stage for praiseworthy performances by Fiennes and Rossellini.