Conclave

People of faith and non-believers alike may find Conclave enjoyable. With so many religious movies released anymore, Conclave offers a refreshing anecdote of the films that now has Ben Shapiro squawking at the liberal posturing in the film—when true Christianity of non-judgment, loving their neighbor, and The Golden Rule of do to others what you would have them do to you” is what true Christianity is and is dismissed as liberalism.

It plays out like a procedural like Spotlight, All the Presidents Rooms, although its third act reveal feels tacked on and the narrative as a whole touches on a lot of modern discourse and other conundrums that the Catholic church is going to have to face—migration, terrorism, trans identity, covering up of scandals, and the battle between a more liberal or nationalistic society—and it’s the fears of holding back human progress the Catholic Church has made in the last 25 years that are on the line.

Courtesy Focus Features

The title refers to the papal conclave, which is a gathering of the College of Cardinals that come to Rome to elect the new pope. The film in many ways plays off the 2013 conclave that involved the election of Pope Francis. Here the main members of the conclave are Thomas Cardinal Lawrence (Ralph Fiennes), the Dean of the College of Cardinals from Britain, Aldo Cardinal Bellini (Stanley Tucci) from America, Joseph Cardinal Tremblay (John Lithgow) from Canada, and Sister Agnes, who is the head caterer and housekeeper of the conclave.

After the Pope dies, the six cardinals gather in mourning and discuss the next steps in electing the new pope under Cardinal Lawrence’s leadership. They gather in seclusion, and there is a genuine feeling that Cardinal Adeyemi (Lucian Msamati) from Nigeria, who is very moderate on social and economic issues, is going to be elected by conclave to become the new pope. Cardinal Lawerence ends up vetting him, while being pressured by Cardinal Tedesco (Sergio Castellitto), an Italian traditionalist who believes the next Pope should be Italian and that progressivism and liberalism pose a threat to the tradition of the Catholic Church. During a great monologue by Fiennes, Cardinal Lawrence delivers a speech on the importance of the Catholic Church evolving with the needs of humanity rather than resorting back to the old traditions of the past. This creates tension between Lawrence and Telesco, but Lawrence is able to build a stronger kinship with Cardinal Bellini, who holds a lot of disdain towards Cardinal Tesco’s controversial remarks condemning homosexuals, migrants, and Muslims.

Courtesy Focus Features 

Cardinal Adeyemi ends up having to withdraw his resignation after it was revealed to Cardinal Lawrence that he was involved in a past affair with a 19-year-old young woman whom he impregnated, and to protect the position, we see a lot of the backroom dealings. Director Edward Berger, who directed the Oscar-winning remake of All Quiet on the Western Front, again directs a straightforward procedural drama that is tightly constructed and engrossing. The film flourishes with strong visual moments by cinematographer Stéphane Fontain as well. There is a wide array of impressive wide shots, dolly shots, and an impressive slow push-in of a high-angle wide shot of a group of cardinals that discusses that holds a very Kubrickian. and a dramatic score by Volker Bertelmann that helps the rhythm of the dialogue scenes. Playwright Peter Straughan delivers impressive writing with the dialogue, even though some of the politics at play do seem on-the-nose and the reveal, as noted above, feels forced. Regardless, all of the characters feel alive and conflicted, and the power dynamics on display unfold with vividness.

As such, Berger cajoles commanding performances from a first-rate ensemble cast; everyone has a moment to shine with many powerful moments. Each of the cast members is given dramatically rich moments from the sharply written script. Especially Ralph Fiennes and Stanley Tucci, who are both energized by the material and roles they are playing. It’s a narrative about moving forward and progressing not only religious institutions but human progress as well. This is a sobering spiritual movie that audiences deserve.

CONCLAVE IS NOW PLAYING IN THEATERS