Conclave (2024)- BFI London Film Festival 2024

Review

120min

Genre:       Drama, Thriller

Director:     Edward Berger

Cast:         Ralph Fiennes, Stanley Tucci, John Lithgow…and more

Writers:     Peter Straughan and Robert Harris

-Synopsis-

After the unexpected death of the Catholic church’s leader, a respected cardinal is charged with leading the Conclave in its secretive effort to select a new Pope only to be drawn into a conspiracy by powerful players to undermine and destroy certain candidates, which he must unravel and expose before the foundations of the church are irreversibly shaken, only for the election to take an unexpected turn.

After announcing himself on the global cinematic stage by taking the 2023 award season by storm in lifting the veil on the horrors of war with his memorable homegrown adaptation of Erich Maria Remarque’s iconic World War I novel ‘All Quiet on the Western Front’, German filmmaker Edward Berger transitions to English language and takes aim the Catholic church, dissecting its politics and place in the modern world by adapting the 2016 Robert Harris novel into a tense and claustrophobic ensemble character drama/mystery about tradition, power, and co-existence in the 21^st century . . . with a sting in the tail.

Ralph Fiennes stars as the respected but reluctant ‘Cardinal Lawrence’, tasked with leading the secretive Papal Conclave after the sudden death of their reformist Pope as cardinals from around the world are gathered in the Vatican, including the liberal ‘Bellini’ (Stanley Tucci), establishment centrist ‘Tremblay’ (John Lithgow), African conservative ‘Adeyemi’ (Lucian Msamati), and hardline Italian traditionalist ‘Tedesco’ (Sergio Castellitto), plus the unexpected and little known Afghan-based Mexican archbishop ‘Benitez’ (Carlos Diehz)—all potential Papal candidates ranging from the reluctant to the willing and eager, and with conflicting ideas of where to take the Catholic church. But the process soon becomes complicated as factions are formed as the conclave splits, while dirty tactics and a conspiracy begin to surface which pull in cardinals and leading candidates, plus the Vatican faithful like sister ‘Agnes’ (Isabella Rossellini), leaving Lawrence in the tough position of unravelling everything while trying to steer the election down a righteous and expedient path, only for the road to take an unexpected detour.

By adapting a drama set at the political heart of Christendom and without direct filming access to the Vatican itself, Berger and his crew immediately set themselves the difficult task of faithfully re-creating both the opulent public halls and corridors of Catholic power, but also the more private and seldom seen administrative and residential spaces of the Holy See. A task which they are more than equal to as they take full advantage of striking and historic locations in the Eternal City as well as the hallowed sound stages of Rome’s Cinecittà, stylishly dressed and populated by impeccably robed actors in full high church garb, all captured in subdued yet vivid and colourful tones by French cinematographer Stéphane Fontaine (Captain Fantastic, Jackie).

Meanwhile the mood of the piece is set by a an occasionally atmospheric but often ominous and foreboding string score from Oscar-winning composer Volker Bertelmann (Lion, All Quiet on the Western Front), which establishes the tense tone of ‘Conclave’ and combines well with sharp and sometimes alarming sound designs, a mix and style clearly inspired by the composer’s work in Berger’s previous award-winning war epic.

It’s on this stylish and well-crafted canvas that Berger and screenwriter Peter Straughan begin to paint their tense and twisting character portrait, and weave together their tale of mystery and intrigue with patience and precision, giving us a rare albeit speculative cinematic look at the inner workings and machinations of the Catholic church at the highest level. Including the covert papal conclave and the politics of the Vatican, with all its factions often divided by culture and language which come with prejudices and judgement, as well as ideological rivalries particularly between the staunch traditionalists and the liberal reformist, opponents in the quest for the leadership of Catholicism with different ideas for its present and future, and its place in the wider world—all of which deliberately reflects the very human and fallible nature of the lofty so-called representatives of God on Earth.

The burden of weaving together all the film’s themes with a tense, gripping and unpredictable story, and making it all pop off the screen falls on the shoulders of the impressive and accomplished ensemble cast, playing roles which stay largely faithful to the Robert Harris source novel despite a few changes in nationalities and affiliations. Unsurprisingly, celebrated screen veterans and versatile stars like Stanley Tucci, John Lithgow and Isabella Rossellini take to their tasks like ducks to water by delivering nuanced and layered performances to bring their characters to life, while lesser-know but still consummate actors like Lucian Msamati and Sergio Castellitto more than pull their weight, and Carlos Diehz proves the surprise wildcard . . . in more than one way.

They’re all ultimately led by great Ralph Fiennes who bears the greatest burden within the narrative and for the film overall, as he masterfully inhabits a stoic and considered character who’s a reluctant leader and religious “manager”, forced to put his own crisis of conscience on the back burner for the sake of the lofty institution he represents and keep it from falling apart, trying to steer a great ship objectively yet still succumbing to a personal ideological course.

It’s fair to say that ‘Conclave’ is centred in a progressive view of the world and its narrative is clearly skewed toward a liberal reformist approach. Ultimately espousing a view of spiritual stewardship that’s anchored in a profound change for the Vatican and aligned with modern political ideologies, a modernist view of Catholicism that’s perhaps a tad naïve and quixotic, and yet arguably more aligned with the original teachings of Christ than what the institution has become. As such it might divide audiences or put some off, particularly given the very topical and fanciful final twist, but if you can get over the politics or roll with the ideology baked into the narrative, this is a thoroughly gripping, expertly crafted character drama and a well balanced political thriller that subverts expectations and is more than worth the price of admission.

The Bottom Line…

A tense and atmospheric human drama mystery mixed with an engrossing and unpredictable political thriller with plenty up its sleeve and an almighty sting in the tail, ‘Conclave’ marks a triumphant transition to English language cinema for Edward Berger, powered by Robert Harris’s investigative eye, masterful performances and an impeccable style, as he lifts the veil on the workings of the Vatican and challenges the Catholic church’s place in the modern world.

‘Conclave’ is out now in the US, and on the 29th of November in UK cinemas.

Similar films you may like (Home Video)

The Two Popes (2019)

At the start of the new century, the dogmatic conservative Pope Benedict XVI clashes with Argentinean liberal reformist cardinal Jorge Bergoglio and future Pope Francis, tussling over the direction of the Catholic church as they engage in personal debate over opposing ideologies, but come together to guide the church into the 21st century—in this papal two-hander and dramatised look behind the extravagant curtains of the Vatican from the director of ‘City of God’.

Directed by Fernando Meirelles and starring Jonathan Pryce, Anthony Hopkins and Juan Minujín among others.

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