Random Reviews

Conclave -- Directed by Edward Berger -  Adapted from the best selling novel by Robert Harris. In theatres October 2024.

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One of the films that I was not sure if I would fit it into the tight schedule I had for TIFF screenings this year was Conclave, an adaptation of a novel written by Robert Harris that I read during the pandemic. I thought, as with my children’s book ‘Church Hat’ that because this has a religious context to it emphasized by the title, that it may be a turn off for some people. However, that theme should not be deterrent. 

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Usually, I don’t make time for screenings at film festivals that obviously will soon be in wider release in theatres. However, the visual impact of the set design and cinematography in the previews, the fact that the ensemble cast included Ralph Fiennes, Stanley Tucci, and Isabella Rossellini was compelling, and that it was filmed at Rome's legendary Cinecittà Studios, convinced me to see it.   Cinecittà Studios is the largest film studio in Europe, and is considered the hub of Italian cinema. The studios were constructed in 1937 during the Fascist era under Mussolini as part of a plan to revive the Italian film industry. The recreation of Vatican architecture that has been in place at this studio made it an immersive experience. 

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The title alone ‘Conclave’ which is defined as a private meeting or secret assembly has a medieval tone for a highly ceremonial convergence of the selected few who will elect the next Pope. The idea of this feature bringing to life the secretive interior world of the Vatican that was revealed in the book made me have high expectations. 

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Edward Berger’s interpretation of Conclave as an adaptation of Robert Harris's novel, is a fascinating peek behind the locked doors of the Vatican. This film drew me into the heart of one of the world’s most secretive and religiously significant rituals: the selection of a new Pope. It captures the intrigue and urgency of the process, offering an atmospheric, tension-filled drama that thrives on the unpredictable nature of the conclave. Each voting session has the edge-of-your-seat impact of a thriller.

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Set against the opulent yet confining backdrop of the Sistine Chapel and Vatican chambers, Conclave begins with the unexpected death of the Pope, which triggers a global, emergency response as cardinals converge in Rome. This isn’t just any gathering, it's a race to decide not only the next spiritual leader of over a billion Catholics but also the future direction of the Church. Director Edward Berger, known for his meticulous and intense storytelling in features such as All Quiet on the Western Front, brings a similar sharpness to this film, making the sacred seem both intimate and perilous.

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Ralph Fiennes is quietly magnificent as Cardinal Lawrence, the conductor of this 72-hour, pressure-cooker of deceit masquerading as a holy election. Fiennes's portrayal is a blend of stern authority and understated vulnerability, embodying a character who understands the gravity of his role but is not immune to its pressures. The film’s central rivalry between Cardinal Tedesco (Sergio Castellitto) and Cardinal Bellini (Stanley Tucci) brings sharp contrasts to life. Tedesco’s unabashed conservatism (read racism) and Bellini’s progressive reformist ideals represent two extremes of Catholicism struggling to maintain it’s legacy while moving towards at least the image of cosmetic modernity. Despite the sequestration from the influences of the outside world, rumors swirl amongst the cardinals, tense alliances form, and sabotage unfolds. The pull of Conclave is because it thrives as a gripping political thriller, stuck in a timeless theatre of hierarchy, wrapped in ecclesiastical robes.

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The film is less a meditation on dutiful spirituality than it is a taut psychological study of power and tradition. Berger’s adaptation captures Harris’s themes but adds cinematic intensity that made me happy to see it with an audience. There were gasps and laughs out loud during the entire screening.  My viewing experience was highly amplified by Stéphane Fontaine's breathtaking cinematography. Each shot is composed with the weight of the Church’s history, making even the smallest gestures hold the sense of an unknown significance. The set design and architectural imagery uses shadowy lighting to echo the moral ambiguity and looming shadows of the conclave itself. 

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The film adaptation diverges from Harris’s novel in notable ways. While the book delves into the internal thoughts and moral dilemmas of its characters, the film opts for visual tension over internal monologues and that makes sense. This shift is effective in keeping the pacing tight and the stakes high, but some fans of the novel who, like me, wanted to see it to compare the two, may miss the deeper psychological insights into the cardinals’ minds. The side conversations happening in darkened spaces seemingly built to carry noise up stone staircases and across marble floors, preventing any chance of guaranteed privacy are the most strained. Images of covered windows and rows of separate apartments to detach the cardinals at night from each other, resemble more of a high-end prison than the environment of safe sequestration that is constantly challenged by furtive meetings to relay forbidden, and often questionable information. 

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The supporting cast delivers impressive performances, especially Isabella Rossellini as Sister Agnes, whose mere presence suggests a quiet, formidable influence amidst the male-dominated proceedings. Rossellini’s character may be one of the film’s boldest departures from Harris’s novel, adding an unexpected but welcome layer to the story — a subtle nod to the increasing calls for female voices within the Church. The clever undertone of humour in some scenes made me think that this was the Vatican franchise of the Office.

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The context of Conclave cannot be fully appreciated without considering the broader history of the papacy itself. As one of the world’s oldest written institutions, the papacy has often walked a fine line between tradition and reform (loudly preferring the latter). In recent years, efforts to modernize the Church have included greater emphasis on inclusivity, social justice, and a less judgmental stance toward marginalized groups, initiated largely by Pope Francis. The film adaptation, like the book, doesn’t shy away from these ongoing debates, often framing the cardinals' power plays as a metaphor for the broader conflicts between the Church’s conservative and persistent progressive factions.

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So, for me, Conclave was absorbing. It made me feel that I understood the secretive world of papal politics. And it’s one of the films from TIFF that I am still thinking about months later. With strong performances and atmospheric direction, it’s a vivid, compelling adaptation that stands on its own, capturing the struggle for power under the guise of piety. Whether you read Harris’s novel or not, I highly recommend seeing it.