Ralph Fiennes impresses as a doubtful cardinal tasked to find a new Pope in Edward Berger’s thriller. Here’s our Conclave review.
Filmmakers have a habit of telling stories about men of God having doubts. Films like Signs, Silence and The Exorcist have certainly engaged audiences through the years, but director Edward Berger takes a different approach to religion and the Catholic church with Conclave. Based on Richard Harris’ novel of the same name, Conclave exhibits doubt over the entire institution, which is a risky, bold stand to take for a big screen wide release feature.
Plot-wise, after the current pope suddenly dies, Cardinal Lawrence (Ralph Fiennes) is tasked to arrange the eponymous conclave to choose a replacement. Several cardinals from all over the world shut themselves into a building to debate and vote for a new pope, but as it turns out, this lot of men are just as power-hungry and petty as us peasants.
The film then constantly feels a little dangerous, like watching it is a tad naughty. After all, we’re getting a rare, albeit fictionalised, glimpse into one of the most secretive processes in the world. Berger relishes in the simplicity of it all; a small group picks out someone who’ll become the most famous person on the planet, but at the end of the day, it’s just mortal men fighting for power. It’s a powerful premise and its director wastes none of it.
Instead of big, dramatic speeches, Conclave unfolds mostly in whispers exchanged in dark corners and empty hallways. Lawrence, who’s already somewhat disillusioned with the church, insists that he doesn’t want to be a pope and is only interested in helping to find a new one, but as the film progresses, we begin to wonder if he does yearn to see himself on the papal throne. We learn that Lawrence wanted to resign but the pope refused his wish, telling Lawrence that he’s “a manager”, born not to rule but to simply manage. A pretty devastating thing to hear, from the pope no less.
Fiennes gives a towering performance as Lawrence. Somewhat of a chameleon as a performer, there’s an exciting uncertainty to how Fiennes navigates the plot and Lawrence’s moods. Although the character mostly acts as our eyes and ears to the story and the other cardinals, we quickly begin to doubt him too. Conclave, if anything, is a film that’ll keep you on your toes. It’s all the better for it.
It also helps that Fiennes is surrounded by an excellent cast, even if the supporting characters come across a little thin. Stanley Tucci and John Lithgow are excellent as Lawrence’s fellow cardinals fighting for power. Tucci especially is a welcome, warm presence in a movie that can sometimes feel a little cold and distant. Yet it’s Isabella Rossellini who makes the biggest impression on the sidelines. With less than eight minutes of screentime, Rossellini’s Sister Agnes, one of the nuns tasked to serve the cardinals, proves to be Conclave’s secret weapon, emotionally and plot-wise.
On the downside, the ending feels disappointingly abrupt. It’s designed to be shocking, but there’s no time to let it sink in or let the audience form their own opinion on it. Conclave is surprisingly radical, but also at pace, like Berger is scared that if he spends too much time on one or two matters, it’ll alienate his audience. That earlier sense of danger feels much more diluted at the finale.
Yet Berger, who already showed what he’s capable of with the impressive, haunting All Quiet On The Western Front, proves that he’s able to handle crowd-pleasing thrillers just as well as war epics. Conclave is expertly directed, wonderfully acted and overall, just a bloody good film.
Conclave is in UK cinemas from the 29th November.
