Who would have thought that the painstaking process of democracy, the very rounds of voting over and over again, could be so exciting and entertaining? A drama by a German director Edward Berger according to the novel Robert Harris, which was masterfully adapted by the screenwriter Peter Strogan provides that experience. Rafe Fiennes is in top form as the deeply troubled, dilemma-ridden, and faith-ridden Cardinal Lawrence, caught in the middle of a dark Vatican conspiracy. The result is a tense thriller with a minimal but necessary dose of theatrics.
In a sea of films dealing with political intrigue, few capture the essence of the mystery and price of power quite like "The Conclave," a film that has already made its mark this year's awards season. Edvard Berger brings us a suspenseful drama set in the heart of the Vatican, which examines the murky waters of the Catholic Church's top brass. The film won four BAFTA awards the previous night (Best Film, Best British Film, Best Adapted Screenplay, Best Editing) and is up for Oscars in six categories.
The story takes us into the tightly closed chambers of the conclave, where cardinals from around the world gather to elect a new pope after the sudden death of the previous one. Ralph Fiennes plays Cardinal Lawrence, the dean of the College of Cardinals, brilliantly portraying the inner struggle of a man torn between faith, doubt and responsibility. Lawrence becomes a key player in a political game in which everyone has ulterior motives, and what begins as a religious act soon turns into a tense thriller filled with intrigue and manipulation.
Among the prominent candidates for the papal title are the liberal Cardinals Bellini (Stanley Tucci), conservative Tedeschi (Sergio Castellito) and the potential first African pope, Adeyemi (Lucian Msamati). Through each round of voting, Lawrence uncovers secrets that threaten to shake the foundations of the Catholic Church, and in the process finds himself unexpectedly in the running for the throne of St. Peter.
Fiennes delivers one of the most powerful performances of his career, masterfully balancing authority and inner turmoil. His performance is subtle yet powerful: from the slightest glance to the discreet movements, every moment is imbued with tension. Fiennes' ability to convey inner turmoil through minimalist gestures (the gaze over his glasses, the pursed lips) is reminiscent of his earlier complex film portraits.
Tuči and Castellito build additional layers of the film with their convincing interpretations of cardinals with opposing ideologies. Their antagonism can be easily transferred to the terrain of all religious communities today, which face identical dilemmas and divisions within their ranks: whether openness to diversity, awareness of the inevitability of change and the challenges of the new time, or reactionary, racist fanaticism will prevail. Nowhere as in these moments do we see a clearer illustration of the gospel message: Be wise as serpents and harmless as doves. For the mind without kindness easily slips into wickedness, and kindness without the mind into stupidity.
The dialogue is sharp, with ironic references to contemporary scandals, but avoids one-sided criticism. The most powerful moments are those in which the characters recognize their own role in a corrupt system.
A great vignette is also a must Isabelle Roselini, who plays Sister Agnes, a healing figure who mediates between the mundane and the spiritual. Although her character has little screen time, Rossellini gives her a magnetic, quiet strength: the power of authority without a word being spoken. The scene in which she reveals her past, sarcastically commenting on the hypocrisy of the church, highlights her gift for transforming a text into an emotional boom. Thanks to this role, Rossellini could easily be an Oscar winner in the supporting actress category.
Exceptional attention was paid to the visual component of the film. Stefan Fonten, the director of photography, manages to convey the grandeur of the Vatican chambers through lavish wide shots, but also the claustrophobic scenes in the closed corridors, using light as a symbol of spiritual enlightenment or deception. The set design abounds with symbols: golden bars like prison bars, sculptures of saints who seem to be watching over the characters - set designer Susie Davis brings authenticity to every detail. The music further heightens the tension and emotional charge.
“The Conclave” stands out for its ability to maintain constant tension, leaving no room for respite. However, the final twist may divide viewers – while some praise its shock value, others find it disrupts the carefully constructed narrative tension. However, it is undeniable that Berger successfully balances historical authenticity with cinematic drama.
This film is also a meditation on the ethics of survival, boldly exploring faith and human nature within one of the most closed institutions in the world. Ralph Fiennes carries the film with his exceptional performance, while Berger skillfully directs a tense thriller that does not leave indifferent. This is not just another political film, it is a story of faith, doubt and the temptation of power.
For fans of political thrillers and serious dramas, "Conclave" is a must-see film experience.
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