Conclave, 2024.
Directed by Edward Berger.
Starring Ralph Fiennes, Stanley Tucci, John Lithgow, Lucian Msamati, Brían F. O’Byrne, Carlos Diehz, Merab Ninidze, Thomas Loibl, Sergio Castellitto, and Isabella Rossellini.
SYNOPSIS:
The Pope has died. Cardinal Lawrence (Ralph Fiennes) must lead the Conclave to select a new leader of the Catholic world. But as high-ranking cardinal candidates gather, he discovers sides have been drawn and secrets that might destroy a future pope, perhaps even the Church itself, threaten to be revealed.
All Quiet on the Western Front‘s Academy Award winning director Edward Berger relocates to a completely different kind of battle-field with Conclave, one with even more complexity and strategic duplicitousness than that bloody conflict; the ordaining of a new Pope.
If the minutiae of the inner workings of the Vatican all sounds a bit lofty or worthy to initially demand your attention, prepare to be surprised by one of the most enjoyable, gripping, funny, and optimistically moving films of the year. You don’t need an allegiance to any faith but the Church of Cinema, and there you’ll be worshipping at the alter of Berger’s meticulously executed drama.
What makes Conclave worthy of the such praise? Well, the first thing you notice is Volker Bertelmann’s score, which feels at odds with the film your preconceptions would have you believe you’re watching. It’s propulsive, intrusive, and feels more like it should be accompanying a thriller. That is until you realise that’s exactly what Conclave is. An exciting, funny, and incredibly tense whodunnit, or who doesn’t want to do it.
Allegiances with each of the Cardinal candidates change with the passing of every line. The script smarts ensure that this is executed in a subtle fashion, so rather than succumb to actorly grandstanding, everything feels organic. You can imagine a version of Conclave executed in a fashion befitting of Armando Iannucci, and while events can occasionally raise titters, the fact that this is played out with a relatively straight face only benefits proceedings.
It also compliments the performances, all of which are outstanding; Fiennes, who is constantly at odds with his galero, a manifestation of his crisis of faith, steps up to the pulpit to deliver a captivating turn. His speech on certainty and doubt will be his showreel moment, but it’s only one from a character of such rich intricacies and evolution. Constantly framed against the cavernous high ceilings of the Vatican and the paintings that adorn them, yet you can’t take your eyes off this still, troubled man.
Every bit his equal is Tucci as the liberal and forward thinking member of the conclave. He acts as the mouthpiece against the antiquated ways of the Church, but is so much more than just audience projection. Suffering in the face of the outdated rules he’s so passionate about is Isabella Rossellini’s Sister Agnes, who really should be given more to do, but what she does is quietly triumphant.
In fact, the film as whole builds towards something altogether more affecting than the preceding two hours had suggested. Conclave‘s final reel revelation is quite a big swing, but Berger, along with his main players, manages to pull it off in a way that is brave, bold, and unexpectedly soul-stirring.
Without pontificating too much, Conclave is brilliant, brilliant, brilliant filmmaking. A delicious Game of Robes drama that holds a mirror up to the state of the world, and is elevated by heavenly turns from Fiennes, Tucci and the entire Papal posse.
Flickering Myth Rating – Film ★ ★ ★ ★ ★ / Movie ★ ★ ★ ★ ★
Matt Rodgers – Follow me on Twitter
