Conclave Movie Review and Movie Summary (2024)

The performances and dialogue crackle like electricity in “Conclave.” Every frame is superbly composed, with breathtaking images that underline the surprising twists and turns of the story, which are exciting on two different levels. It introduces us to an ancient, mysterious process that has aroused boundless curiosity for hundreds of years: the gathering of Catholic cardinals to elect a new pope. Here and there, parallels are easily touched upon with the less secret power struggles and clashes over fundamental values ​​that we are all too familiar with. The opportunity to peer into the mysterious details of the process is fascinating. Yet it is the universal humanity, the ambition, the manipulation, the grand visions, the pettiness, the disagreements over faith vs. doubt, progress vs. tradition, “us” vs. “them” that resonate most deeply. As Us Magazine would put it: “Cardinals! They're just like us!” “Conclave” is smart, provocative, sometimes funny and determined to make us rethink our first impressions. It challenges us to challenge ourselves and is hugely entertaining, one of the standout films of the year.

It begins with heavy breathing as Cardinal Lawrence (Ralph Fiennes) rushes in with a briefcase and his hand Zucchinithe red skullcap worn by cardinals as a matter of custom rather than formal religious observance. The Pope is dying, and Lawrence takes his place among the other clergy and prays at his bedside. Then he's gone. The next task is to remove the Fisherman's Ring from His Holiness' hand so they can destroy the seal. This includes an indecent tugging, a first indication that the transition will not be easy. There will be many others, and we will hear more stressed breathing later.

Cardinal Lawrence, due to his position as dean, will preside over the College of Cardinals and will be housed in a special dormitory to select the next pope by vote. They meet in the Sistine Chapel. The ballot papers are filled out by hand and counted. Then they are burned. The only communication during this process is through smoke, gray for a ballot that did not yield enough votes for a candidate to be selected, white if the selection was made.

It is sometimes said that great positions of power should only go to those who are wise and humble enough not to want them. This may be particularly true of the Pope's position, which is intended to be a lifelong appointment as head of the Catholic Church and Vatican City. Once selected, he is considered the highest authority, protected from error when speaking on matters of faith and morality from the Chair of St. Peter or the Ex-cathedra. As one of the cardinals points out, everyone who has reached this position in the Church has thought about what name they would choose if chosen.

Lawrence, whose doubts about his role were so great that he actually wanted to resign from his position, does his best to meet the contradictory needs of the cardinals. While at one point he says he doesn't want to hear about any concerns that might make a candidate unworthy, when he sees or hears a problem with suitability, he pursues it to the point of violating a rule. Given that all candidates are limited in some way because they are human, what is worse: a sin of the past, an unethical ploy to get ahead in the vote, or a commitment to a policy he and many others consider it reactionary and harmful? Finally, Lawrence is keenly aware of the church's past failings and the need to avoid reputational damage.

The standout cast includes John Lithgow as a candidate whose expressions of support may have crossed the line from unseemly to unethical, and Lucian Msamati as an African bishop whose election could be an opportunity to send a message of inclusion, albeit a secret from his past be disqualifying. Lawrence supports his friend, Cardinal Bellini (Stanley Tucci, a standout even in this outstanding series of performances), who openly espouses his liberal views, alienating many potential supporters. At the other end of the spectrum is the Catholic version of fire and brimstone, Cardinal Tedesco (Sergio Castellitto), who wants to bring back Latin and throw out of the church anyone who doesn't fit his limited ideas of suitability. Isabella Rossellini is impressive as the nun who, as she says, is supposed to be invisible, but can't help but have eyes and ears – and, although she doesn't add that, a mouth that has something to say.

Cinematographer Stéphane Fontaine makes the most of the stunning images of the setting: the rows of cardinals in their iconic red robes, the multi-colored striped uniforms of the Swiss Guard and the magnificent architectural details of the Vatican. The contrast between the bright colors, the masterpieces of art and design, the representation of centuries of tradition and the human errors and small manipulations is absolutely captivating.

The film takes on an almost door-slamming, farcical tone. Even in the isolated quarters, rumors, revelations and events take the characters on a breathing, Rubik's Cube-like series of twists and turns. The final surprise may seem outrageous at first glance, but it is designed to fit into the story as satisfyingly as the final piece of a puzzle.