Oscar nominees Ralph Fiennes and Stanley Tucci lead a brilliant ensemble cast in Conclave, in which Cardinals gather at the Vatican to elect a new Pope.
Director Edward Berger returns to TIFF after his TIFF ’22 selection, the Oscar-winning All Quiet on the Western Front, with this high-stakes drama set within the stunning walls of the Vatican. The screenplay has been adapted from British writer Robert Harris’ novel of the same name. Oscar nominees Ralph Fiennes and Stanley Tucci will lead this thrilling drama at TIFF 2024 as they charge into an unexpected religious battle.
Conclave offers an eye-opening experience for those curious about the procedures following the Pope’s death and the selection of his successor. When the Pope dies unexpectedly, cardinals from all over the world rush to the Vatican, where they sequester themselves. Digital devices are stashed away, doors are locked, and windows are shuttered as they prepare to elect a new leader—one who will provide spiritual guidance for the world’s Catholics and set the tone for the Church’s future.
“Conclave offers an eye-opening experience for those curious about the procedures following the Pope’s death and the selection of his successor.”
Cardinal Thomas Lawrence (Fiennes) oversees the proceedings, assuming the contest will come down to a battle between the reactionary, openly racist Cardinal Tedesco (Sergio Castellitto) and the liberal, progressive Cardinal Bellini (Tucci). However, things soon become complicated as rumours circulate, secrets emerge, and acts of sabotage unfold. These cardinals are not to be trifled with.
Despite the schemes the cardinals concoct to win the election for the Church’s top position, Berger does a good job of not making them seem entirely repulsive. The unsaid implications in the film, however, speak volumes behind closed doors. This could also be a toned-down version of the novel adapted for the screen.
Although the film seems focused on religion, it’s more about the clash of philosophies and ideas. Unlike The Exorcist: Believer, Conclave feels like a gripping thriller that just happens to involve religious figures. It doesn’t have the action-packed flair of Angels & Demons but instead explores both progressive and traditional themes, which Cardinal Lawrence uncovers.
The cinematography humanizes these cardinals. In reality, people place these men on pedestals as the highest authorities in Catholicism and Christianity. Berger’s signature camera technique, blocking, is used here, with dialogue delivered off-screen, focusing instead on the reactions of the non-speaker in real-time, providing a unique perspective.
When Berger teams up with composer Volker Bertelmann, the result is a stunning score that complements Stéphane Fontaine’s cinematography. The scenes where the conclave is being set up feel automated, like a factory line. The synchronized actions of the sisters setting tables and preparing rooms are both captivating and chilling, with the sound design adding to the atmosphere.
For a film filled with deliberation, Conclave maintains a good pace. Some moments drag, but nothing too problematic. Berger excels at making B-roll footage as riveting as the main story, much like Gareth Edwards’ use of large focal subjects against scenic backdrops in films like Godzilla or The Creator. Fontaine’s cinematography and the costume design make these religious men seem like they’ve stepped out of The Handmaid’s Tale.
“Watching Fiennes, Tucci, and John Lithgow go head-to-head in a verbal debate was surprisingly entertaining.”
Fiennes’ performance drives the film, making Cardinal Lawrence one of his most memorable characters. Fiennes has portrayed many remarkable roles, from the ruthless Nazi war criminal in Schindler’s List to the menacing Lord Voldemort in the Harry Potter series and M in the Daniel Craig-led James Bond films. By the end of Conclave, audiences will wonder if Cardinal Lawrence was truly “a good man” as the Church believes every cardinal should be. His fellow actors were just as sharp too!
The actors and actresses immensely helped sell the comedic moments as well. Sister Agnes (Isabella Rossellini) was a force to be reckoned with, as she was in charge of the sisters helping out with cooking meals and other tasks to help with the conclave. Sister Agnes stood up for all the women in this film, and the movie even evolved into providing strong messaging through a feminist perspective—regardless of the tens of men in the room.
Watching Fiennes, Tucci, and John Lithgow go head-to-head in a verbal debate was surprisingly entertaining. So were the other major characters, Cardinal Adeyemi (Lucian Msamati) and Castellitto’s Cardinal Tedesco. Everyone’s emotions were running high, which was appropriate for this story, which is essentially about the human condition of being sequestered with the same people for days on end. And the catch is that everyone is seen as either a rival or a friend.
Conclave has a tight two-hour runtime that feels weighty at times, but the twists and turns keep the tension high. Much like Christopher Nolan’s Inception, the dialogue sometimes slows the pace, but the combination of a good story and strong actors allows silent scenes to evoke laughter or gasps. Backed by an ominous score, this film may leave viewers more curious about the real-life cardinals.
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