The cast alone is reason to line up for Conclave. The psychological thriller from All Quiet on the Western Front helmer Edward Berger stars Ralph Fiennes, Stanley Tucci, John Lithgow, and Isabella Rossellini. These talents are so rightfully heralded for their stirring gravitas that what they’re doing on-screen together is almost beside the point. However, the secrets at the center of this Vatican-set tale are rich with intrigue, sharp humor, and provocative plot twists.
Based on Robert Harris’ 2016 novel of the same name, Conclave takes the masses behind the velvet curtain for one of the Catholic church’s most secretive traditions, the choosing of a new pope. When a pontiff dies, cardinal electors from around the globe convene in a papal conclave, where they vote for one of their ranks to ascend to become the earthly head of the church.
Whatever conversations, debates, or politicking are had in this meeting remain behind closed doors — as do the cardinals themselves — while the world watches for them to send up white smoke to indicate the vote, and if the requisite two-thirds majority has been achieved. This is all the background a layman needs to enter Conclave. But those who grew up in the faith might find richer meanings in its whispered drama and jolting revelations.
Ralph Fiennes leads a sensational cast in Conclave.
Credit: Focus Features
A dark amusement might be inherent to seeing the English actor best known for playing the ultra-evil Voldemort in the Harry Potter movies portray a pious cardinal here. Of course, Fiennes has range, having leapt from that theatrical, hissing wizard to the Coen Bros’ Hollywood spoof Hail, Caesar!, where he played a precise and annoyed director, to the flamboyant concierge of Wes Anderson’s The Grand Budapest Hotel. Fiennes can do everything from brash to buoyant, and here he is hemmed in by vestments and decorum. But the potential that he could explode brings a ringing tension to Conclave from the start.
As Cardinal Thomas Lawrence, Fiennes is the film’s hero, serving not only as the dean of the conclave, overseeing all its details, but also as an amateur detective, wheedling out the secrets that his brethren hide in hopes of being elected the new pope. This is not expressly in his job description, but when a concerning rumor surfaces as the conclave gathers, he feels compelled to sniff out the truth.
Credit: Focus Features
Among this college of cardinals are Aldo Bellini (a sublimely serene Stanley Tucci), a soft-spoken progressive who denounces homophobia and promotes a greater role for women in the church. Though an early favorite — as a much-beloved friend to the last pope — Aldo faces off against the ultra-conservative Tedesco (a perfectly pompous Sergio Castellitto), whose agenda is to push the church back into the dark ages with a Latin mass and a vehement rejection of cross-faith acceptance. Also in the mix is the suspiciously conciliatory Tremblay (an intriguingly slippery John Lithgow), the fiery Adeyemi (a snarling Lucian Msamati), and Benitez (a beatific Carlos Diehz), a young cardinal who is totally unknown to the others until the conclave. Among the lot of them, the category of Best Supporting Actor just got stacked, as the resentments, ambition, and resoluteness collide in intrigue and arguments.
Lawrence strives to conduct the conclave with dignity. But as shocking details about his brethren surface, his idealism is challenged with pragmatism. Should he out sins and corruption if it means breaking tradition? Does the end — naming a proper pope — justify the means? And truly, how do you rationalize electing a fallible person to a position that is infallible?
Conclave is a sophisticated and sharply enthralling thriller.
Credit: Focus Features
This is a movie that understands the complications of Catholicism, where reason collides with belief and human nature with divinity
Here’s where I confess I’m a lapsed Catholic of decades. Still, I was swept up in Berger’s shrewd direction, which meets the curiosity of those of us to whom the conclave has long been shrouded in mystique and mystery. While the plot of Conclave includes many scandalous elements, the characters are often restrained (or arguably repressed) in their reactions. Even when talking plainly about their personal politics, there’s a careful reticence that I recognized from my years in church, its rectories, and Catholic school.
This culture has a specific way of saying something without saying it. And Peter Straughan’s script understands that, executing this delicacy brilliantly. Even the affable Aldo speaks in this hard-to-pin-down manner, saying he doesn’t think parishioners should be told they have to have 10 kids, instead of saying what he really means: He’d be a pope who’d support birth control. That would be too radical to utter in the Vatican, and Conclave is well aware. Yet this keen reluctance to be frank also bolsters the film’s central conflicts, where what lies beneath the surface could be prove polarizing.
Behind these men’s bright-red robes and regal posturing, they are as flawed as the rest of us (maybe more so). Conclave doesn’t treat this as some sort of shock unto itself. Instead, the film holds a great deal of empathy for its complicated cardinals. In the terms of Catholicism, it may hate the sin, but not the sinner. Yet as our humble, fallible conduit, we see Lawrence struggle with this brand of radical acceptance. We see his eyes ignite when he uncovers treachery. We feel his heart break when a skeleton clatters out of a metaphorical closet. In these moments of internal turmoil, it’s easy to imagine the Oscar sizzle reel for Best Actor.
Credit: Focus Features
Not everyone is as willing to forgive, and here is where Rossellini, as a nun who serves in the Vatican, excels. Where these men swan around as lords of the manor, she and her sisters are to be seen but not heard. But they’ll hear her. The humor of Conclave is subtle, carefully picking its punchlines to lighten its hard-hitting homily. But when Rossellini’s Sister Agnes delivers a tight-lipped speech before the cardinals and completes it with a curt bow, that small gesture hits like a mic drop. It’s liberating in its fine-point hilarity.
In the end, Conclave is not a story about sin or secrets but about moving forward. When the dust has settled — or the smoke has risen — who will we be with the choices we’ve made? The best bit of Berger’s film might be that it gives a nuanced answer for its hero, Lawrence, who holds the film’s quiet final moment with a poignant power. But for the viewer, we are left to wonder not just what we might have done, but who we are in the face of the film’s final reveal.
Conclave was reviewed out of the Toronto International Film Festival; it will open in select theaters Nov. 1.
