You may think you’ve had enough of elections in 2024 but the highly recommended Conclave makes a beautiful and dramatic case for them
“The Holy Father’s turtles…he was very fond of them”
Everything I know about papal elections stems from Angels and Demons, the stupidly delicious Dan Harris book and later iconic film (the word Camerlengo still echoes through my brain), so it seems appropriate that I should learn more from another film based on a book. Conclave comes courtesy of Robert Harris’ novel of the same name, with a screenplay by Peter Straughan and directed by Edward Berger. But whilst it may have less explosive antimatter and codebreaking therein, Conclave makes for a surprisingly exciting film.
It begins with the death of a Pope and as the cardinals gather to go in seclusion to conduct the election for a new leader, we’re introduced the frontrunners in the race, all passive aggressive politeness as they barely hide their ambition whilst paying their respects. There’s the liberal Bellini (Stanley Tucci), the blandly mainstream Tremblay (John Lithgow), traditionalist reactionary Tedesco (Sergio Castellitto) and socially conservative Adeyemi (Lucian Msamati). A late arrival puts the cat among the pigeons though, Benitez (Carlos Diehz) who declares he was secrely made Cardinal Archbishop of Kabul and so now belongs in their number.
Overlooking proceedings is Cardinal-Dean Thomas Lawrence (Ralph Fiennes in superlative form), a man struggling with his faith but also considered in the running despite his protestations that he’s not interested. And as he gets on with the admin of the election and low-key vetting the candidates, murky secrets aplenty start to emerge along with hints of a Machivellian plot. Essentially trapped in the Vatican, Lawrence has to try to investigate against the backdrop of repeated votes in which he is becoming an increasingly involved player.
It shouldn’t be as gripping as it is but Berger maintains an exquisite level of tension throughout and with cinematographer Stéphane Fontaine contrives to create some gorgeous tableaux, unexpected camera angles mixing the strange with the sacred, Volker Bertelmann’s score spine-tingling in its beauty. The acting is excellent throughout, Fiennes’ tormented eyes haunting me still, Diehz’s enigmatic intelligence a real standout against some bigger names, and Isabella Rossellini’s Sister Agnes – a rare female presence here – has a massively powerful presence.
