As someone who was raised entirely unreligious, the idea of a ‘papal thriller,’ as Edward Berger’s newest film, Conclave, is described, hooked me just by the description. For me, Catholicism is a deeply intriguing concept. Some of my favorite films of recent years have been ones with religious themes because it’s entirely foreign to me. Paul Schrader’s 2017 movie, First Reformed, was the first film I saw that dealt with religion, and Conclave has officially sealed the deal for me — I’m a religious film fanatic.
I’m partially kidding. But it’s true that Conclave, with its extended moments of silence, stunning Vatican City sets, and gossiping Cardinals, has completely captivated me. It’s a thriller, a detective story, a comedy, and easily one of my favorite films I’ve seen this year.
Ralph Fiennes plays Cardinal-Dean Lawrence, who is tasked with organizing the papal conclave that selects the new pope following his passing. The task of choosing a pope is easier said than done. Four candidates arise quickly: Tremblay, a conservative; Adeyemi, a socially conservative Nigerian cardinal; Bellini, a liberal whose views align with the late pope; and Tedesco, a traditionalist who intends to overturn some of the more progressive changes made in the Catholic church. However, as Cardinal Lawrence strives to manage the conclave smoothly, conspiracies within the church unravel, with scandals and secrets continuously emerging.
It’s easy to list the elements of Conclave that work. The acting is superb, which comes as no surprise given the cast. With Fiennes, Stanley Tucci, John Lithgow, and Isabella Rossellini, the film is already a standout for its performances. However, it’s some of the lesser-known actors who truly steal the show for me. Carlos Diehz as the mysteriously appointed Cardinal Benitez was a particular bright spot. The script is exceptionally strong. While I’m not too familiar with Berger’s previous works, his mastery of dialogue is undeniable. He knows exactly when to show rather than tell, resulting in a film that trusts the audience to draw their own conclusions without being led by the hand. The sets, the score, and the costumes are equally remarkable, enhancing the film’s overall impact.
But what set Conclave apart for me is its introspection on religion. The film never goes quite where you expect it to with its examination of the hierarchy of the church, or religion as a whole. From the first scene, it’s clear that Cardinal Lawrence is having some sort of struggle with his faith. Not, as he explains it, over whether God is real, which he knows to be true, but over his disillusionment with the church itself. In a speech before the conclave begins, Lawrence encourages his fellow Cardinals to never stop doubting, as the absence of doubt necessitates no need for faith at all. This more nuanced perspective on belief gives the film so much more emotional depth than I was expecting. Watching Lawrence’s faith in the institution of the Catholic Church rise and fall throughout the film is fascinating.
I went into Conclave thinking I knew precisely where the film was going to go. I assumed, as many probably did, that the central scandal of the film would be centered around its allegations of child abuse, a la Spotlight. But Conclave isn’t keen to stay within the audience’s expectations. Without delving too deep into spoilers, the movie takes a different direction in showcasing the church. In the Vatican, a place that is supposed to be the holiest of all, deception and ambition still run deep. The cardinals turn on each other in their desperation to win the papacy. Even those on the highest moral ground are quick to get caught up in the dynamics of greed and power.
Isabella Rossellini, in a small but pivotal role as Sister Agnes, highlights another form of power within the church — the imbalance between the Cardinals and the nuns. Sister Agnes, the head nun of the Vatican, is a quiet figure, controlling her girls with an iron fist and avoiding unnecessary interaction with the Cardinals. The women in the Vatican are relegated to subservience, expected to cook for and clean after the Cardinals while remaining silent observers in a male-dominated space. In a powerhouse scene (which I’ll avoid detailing too much), Sister Agnes finally asserts the nuns’ agency in front of the Cardinals. The subtle power dynamic between the Cardinals and the nuns remains understated until Sister Agnes speaks up, adding another layer to an already complex film.
Conclave is worth the price of admission for its thematic richness alone. What could have been a routine political drama is instead an addictive thriller packed with corruption, religious debate, and Cardinals channeling their best Mean Girls.