Conclave Review
Gorgeously shot, remarkably tense and undeniably intriguing, Conclave is a masterpiece.
When the Pope dies, Cardinal Lawrence (Ralph Fiennes) is put in charge of the conclave. As the other cardinals gather from around the globe, he has to manage not just the desires of the frontrunners - like Bellini (Stanley Tucci), Adeyemi (Lucian Msamati), Tremblay (John Lithgow) and Tedesco (Sergio Castellitto) - but also the appearance of a new cardinal, Benitez (Carlos Diehz), who had been appointed in secret by the late outgoing Pope. As secrets begin to spill, and an even bigger one rears its head; as the outside world threatens to explosively encroach its way into theirs; Cardinal Lawrence will find that perhaps the biggest challenge he has to face in this race for the Papacy comes from within his own soul.
Conclave is a truly thrilling movie; which is so curious, because the plot itself doesn’t necessarily scream thriller. This effectively revolves around a power struggle as various factions try and whip the vote for the papacy, but while not a lot actually happens - and the reveals, at least until the very end, aren’t hugely revelatory - the tension is threaded throughout.
Ralph Fiennes is absolutely wondrous as the lead in the film. His performance is nuanced, beautiful and compelling, and he’s ably matched by a well-written script that let’s the pauses say as much as the words themselves, and a sure hand from director Edward Berger. Across the board, the performances are wonderful, with Tucci, Lithgow and Sergio Castellitto all having strong impacts, as does Isabella Rossellini as Sister Agnes.
The visuals are also impeccable. Cinematography is a frequent forethought in viewing this film, and it is mixed with stunning costume design and art direction. There are some big ticket pieces in the trailer that show the visuals flexing - a group of cardinals walking across a square with umbrellas, or the Sistine Chapel’s roof, or explosive debris casting across a big room with the assembled clergy arrayed in perfect formation - but it is the smaller moments that perhaps ring the most true in this piece; the close up details, like for example the slips of paper sliding into the bowl as the Cardinals cast their votes.
It is those smaller moments throughout, and the level of detail throughout that adds another intricate lens to this film. For those interested in religion or history, the details shown here are enthralling, as you get to deep dive into so many little traditions that feel very revelatory. At times, these details - like the intricate dialogue or the small moments of performance - can feel even more engrossing than the broader story on display.
Finally, it would be remiss to discuss this film without mentioning the fantastic score. Volker Bertlemann’s music is a true testament to the ability of sound to craft tension and drama, and he and Berger create such a thumping, pulsating energy to this film right from the off with the stripped back soundscape; something that resonates perhaps even more in moments when it disappears.
