Edward Berger's 'Conclave', based on Robert Harris' novel, offers a gripping and introspective look into the process of electing a new Pope. Starring Ralph Fiennes as Cardinal Lawrence, the film delves into the internal struggles and external pressures faced by the cardinals during the conclave. While exploring themes of faith, politics, and tradition, 'Conclave' challenges viewers to contemplate their own beliefs and the evolving role of the Catholic Church in the modern world.
There have been notable films that involved the conclave of cardinals selecting the new Pope. The Godfather III is most notorious for embroiling the papacy within the clutches of simony (Francis Ford Coppola, 1990). However, Conclave ( Edward Berger , 2024) offers a more intimate look into the selection process, with compounded problems that dog the Church from within.
Based on the 2016 novel by Robert Harris, the film adaptation Conclave might rile a lot of Catholics in terms of identity politics and woke cinema, but these zealots forget that this is a work of fiction. If an adaptation of a fictional work makes you angry and you assert that it is destructive to the Church, your hold on your faith is transactional and tenuous. The fact that the Catholic Church has survived tumult for two millennia should assure the faithful that this movie will not disrupt the Church’s presence and power in the current global media landscape. Watch this movie because you crave superb storytelling. If anything, Conclave is a masterpiece of filmmaking without bells and whistles, depicting a ritual that is centuries old. The true center of this film is Ralph Fiennes, who plays the dean of the conclave, Cardinal Lawrence, and must ensure that the new pontiff is selected. His character navigates the different pulls of scandals and egos craving power while dealing with his inner turmoil. There is no overt melodrama here. The restrained and measured acting is a breath of fresh air amidst other Oscar-nominated performances that rely on mimicry (Timothée Chalamet as Bob Dylan, Sebastian Stan as 1980s Donald Trump) or blatant Oscar-bait drama (Adrien Brody in The Brutalist and Colman Domingo in Sing Sing). A still image from the film showing the cardinals under umbrellas is one of the most iconic statements in the film Ralph Fiennes deserves an Oscar for this film, but sadly, he does not engage in crass marketing or jockeying for favors from the Academy. This is important to cite because Fiennes’ character is, indeed, one who is grounded but does not crave power or recognition. This is evident in his beleaguered character as he tries to be the solid core of the entire conclave while trouble brews both inside, within the power struggle, and outside, in the cruel terror of the world. Though that may seem boring, trust me when I say this film maintains sustained tension throughout. The palpable and thick possibility of destruction is so deeply entrenched that even the revelation at the tail end serves as an ellipsis rather than an exclamation point. Conclave reminds me of the tug-of-war between traditional conservatism and the progressive inclusionary group. Benedict XVI once said that he would rather the Church be small, that is, more contained, at the risk of shedding adherents in the name of sticking to conservatism and right-wing ideology. Pope Francis, on the other hand, opens the Church to a more accepting approach. At the end of these two diametrical poles lie the validity and relevance of the Church. Conclave ensures that these issues are very much present—not to entertain you, but to make you reflect on your faith and your ability to allow others who do not align with your outlook a space in your life
Conclave Edward Berger Robert Harris Ralph Fiennes Catholic Church Pope Election Faith Power Intrigue
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