Conclave - A Movie Review

We cannot always be ideal.

Conclave is a 2024 film based on Robert Harris's book. After the sudden death of the pope, Cardinal Lawrence is tasked with selecting a new pope. He oversees a secretive conclave to elect a new leader for the Catholic Church. As cardinals gather, political intrigue and hidden agendas emerge, revealing deep divisions within the church.

Films about religion are not normally my go-to, though when Conclave was getting award buzz, I decided to check it out. This film is as slow as a snail. The film is well-directed and has talented actors, but deserves a more captivating approach to storytelling.

Driven by the talents of Ralph Fiennes, Stanley Tucci, and John Lithgow, they are the film’s greatest strengths. They are each commendable actors, enticing rich depth in any role they play. Dynamics are the most important part of Conclave, studying the different relationships between each priest.

The one aspect I don’t like when movies do is creating subtle nature, instead of explaining actions and backstories. Ralph Fiennes leads with a commanding yet nuanced performance, embodying an eternal conflict about his feelings for the church. I wanted the film to expand more on Father Lawrence’s downfall with his beliefs.

Conclave has a large ensemble playing priests and other church faculty. I didn’t recognize Isabella Rosellini until my grandmother pointed it out. She is another talented actress who has been in several films. Rosellini plays Sister Agnes, who observes the ideas of cardinals with a discerning eye. She merited her very first Oscar nomination in her fifty-year acting career.

Edward Berger's direction is meticulous, marked by impeccable attention to detail. As I have read, the actions of the cardinals are mostly accurate to the Catholic faith.

Conclave is provocative, documenting something real. Berger understood all the intricate layers of the film and its characters. One of the most reflective elements in Berger’s direction is his themes about religion. Berger didn’t grow up with religion becoming interested in it after attending Catholic mass when he was nine.

The cinematography bursts with stunning images of the church. The church is stunning, capturing every stained-glass window and statue. That doesn’t reflect the story’s dark nature. Most areas are tinted in a dark hue, dismissing any light.

The set designs are meticulously crafted, immersing the audience in the conclave. Berger's collaboration with composer Volker Bertelmann adds another layer of depth, with a hauntingly subtle score that complements the film's introspective tone without overpowering it.

I like the camera angles from the very start, enforcing intimate shots of the characters and the setting. It doesn’t disregard the tension in the air.

As my mom described it, Conclave felt like a really long tribal council, referencing Survivor. Yes, actions speak louder than words, but how many times can we watch someone pace through hallways or make votes? They repeat the voting process over and over because numbers remain the same.

Everything is slow! Characters have slow reactions. They walk slowly. An attack on the church occurs in the climax, but even that is glossed over. We never find out why or who did this. The script could have intercepted more dialogue in most scenes along with tighter editing.

There’s a little more humor in Conclave than you think. Occasionally, the priests joke around. A few priests also have their lunchroom spats about the rules of the game.

Other reviewers will have varied opinions from myself, specifically on the religious aspect of the film. Conclave isn’t a film I’d watch again, though it was worth giving it a chance.