Papal politics take an unsanctified turn in ‘Conclave’

“Conclave”
PG | 120 minutes
Director: Edward Berger
Writers: Peter Straughan, Robert Harris
Stars: Ralph Fiennes, Stanley Tucci, John Lithgow

A cardinal is seen striding along a Roman highway late at night, his crimson biretta cap clutched tightly in his hand. The clash of this dignified figure against a bleak, modern urban backdrop subtly foreshadows the larger conflict within the story: ancient rituals confronting a rapidly changing world. It’s one of the few glimpses of the cardinals outside. As they close themselves off in the Vatican to elect a new pope, they attempt to shut out the pressures of the modern world — but those pressures remain, permeating every decision they make.

While the process of electing the pope — requiring a two-thirds majority vote — unfolds, “Conclave” parallels the church’s struggles with modernization, grappling with issues that divide not only the clergy but also the church’s global congregation.

Berger’s adaptation of Robert Harris’ novel combines the fast-paced thrill of a political drama with a solemn exploration of tradition, encapsulated in the meticulous rituals surrounding the pope’s death and the election process. Yet, there’s a sense of irony throughout: the secrecy, the wax-sealed doors, the ceaseless prayers — all seem meaningful only to these cloistered men (like sending “thoughts and prayers” over social media), utterly disconnected from a world that continues beyond the walls.

At the center of the conclave is Archbishop Thomas Lawrence (Ralph Fiennes), the conflicted College of Cardinals dean who oversees the gathering of cardinals from around the world to select a new pontiff. Fiennes captures the balance between placidity and intensity that defines Lawrence — a man who proclaims his preference for doubt over certainty, only to find himself increasingly obsessed with controlling the outcome of this high-stakes election. 

Set largely within the marble halls of the Sistine Chapel, “Conclave” marries a meticulous portrayal of the election process with the biting undercurrents of modern politics. Among these cardinals are clear ideological divisions, with each character symbolizing a different stance on the Church’s future. Lawrence initially supports Aldo Bellini (Stanley Tucci), a progressive voice intent on liberalization, yet he is challenged by the ultraconservative Goffredo Tedesco (Sergio Castellitto), who longs for pre-Vatican II traditions. John Lithgow’s Joseph Tremblay is an ambitious moderate, while Lucian Msamati’s Joshua Adeyemi, a charismatic cardinal from Nigeria, holds the potential of becoming the first Black pope. 

Adding further intrigue is Carlos Diehz’s portrayal of Vincent Benitez, an unknown cardinal, secretly the Archbishop of Kabul, who arrives unannounced, upsetting any predictable trajectory. Meanwhile, Isabella Rossellini shines as a head nun whose role in the conclave grows in unexpected ways, embodying the institution’s hidden layers of influence. As the election proceeds, tensions build, and even within the confined setting, the stakes feel vividly connected to the outside world, as though these events will soon break the bounds of Vatican secrecy.

Despite being corralled inside the Vatican, these cardinals are acutely aware of the real-world implications of their actions. This awareness of the Church’s influence lingers as Lawrence uncovers secrets that threaten the conclave’s integrity and hints at broader institutional fragility. Fiennes’ nuanced portrayal of Lawrence — a man who bears both authority and self-doubt — leads a powerful cast with Stéphane Fontaine’s cinematography capturing the red-robed cardinals within vast spaces, amplifying both the grandeur and brittleness of the Church.

With “Conclave,” Berger has crafted a thought-provoking thriller, layering opulent visuals with a plot that feels as contemporary as it is timeless. The conclave’s twists and revelations reveal the stakes of electing powerful figures, whether in religion or politics, and remind us how easily duty blurs with ambition. Like the world outside the Vatican, this conclave reflects the fragile dance of public service and personal gain, highlighting the ancient struggle for power that transcends the walls of any institution. ♦