Director Edward Berger, acclaimed for his work on Nothing New in the West, returns with Conclave, an adaptation of the worldwide bestseller by Robert Harris. This political thriller brings together a first-rate cast, including Ralph Fiennes, Isabella Rossellini and Stanley Tucci, to plunge us into the twists and turns of the Vatican's secret machinations. With the unexpected death of the pope, Cardinal Lawrence, played by Ralph Fiennes, must organize the conclave to designate his successor, while uncovering a secret carefully hidden by the deceased. Between political scheming and dangerous revelations, Conclave promises an intense immersion behind the scenes of religious power. A film which, according to critics, could well position itself as a favorite for the 2025 Oscars.
Conclave will be released in cinemas from December 4, 2024.
Synopsis: When the Pope dies unexpectedly and mysteriously, Cardinal Lawrence finds himself in charge of organizing the selection of his successor. As the political machinations within the Vatican intensify, he realizes that the deceased had hidden a secret from them that he must uncover before a new Pope can be chosen. What happens behind these walls will change the face of the world.
In Conclave, Edward Berger, director of Nothing New in the West, presents a gripping political thriller set in the secretive and storied Vatican. Adapted from Robert Harris's novel of the same name, the film plunges us into the heart of thepapal election, a sacred process where political rivalries and personal intrigues collide with issues of faith. Carried by a charismatic Ralph Fiennes in the role of Cardinal Lawrence, the film finely questions the power dynamics and internal struggles of a Catholic Church in search of redemption and modernity.
The story opens with a solemn declaration: "The throne of the Holy See is vacant." These words, announcing the death of the pope, mark the start of a conclave where the cardinals are called upon to elect his successor. The spectator soon discovers that behind the apparent serenity of the debates lies a silent war of manipulation and ambition. Edward Berger 's direction accentuates this contrast: contemplative shots of the Vatican' s austere corridors are interspersed with chiseled dialogue revealing tensions and hypocrisies.
At the center of this intrigue is Cardinal Lawrence, played by Ralph Fiennes, whose impeccable performance embodies the intelligence and morality of a man caught up in a corrupt system. Charged with organizing theelection, he attempts to maintain order while navigating fragile alliances and shocking revelations, particularly around Cardinal Bellini (John Lithgow) and young Cardinal Benitez (Luis Gnecco). The tension culminates when a secret concerning Benitez comes to light, calling into question centuries of dogma.
Another outstanding role is that of the nun played by Isabella Rossellini, who intervenes in the plot with poignant sobriety. Present behind the scenes of the conclave, she sheds unexpected light on the personality of the late pope and the state of theChurch, turning certain debates on their head at key moments.
Conclave goes beyond the political thriller, exploring profound themes of faith, modernity and contradictions within theCatholic Church. Through powerful dialogue, the film highlights the gap between spiritual ideals and political realities. One of the most striking lines, uttered by Cardinal Lawrence, sums up this tension: "The most dangerous men are those who want to be popes." This phrase illustrates just how much thepapal election can be less a divine quest than a human confrontation.
The film doesn't hesitate to confront theChurch with its own demons. Through the character of Cardinal Tedesco, a rigid conservative, Berger evokes the internal struggles between progressives and traditionalists on subjects such ashomosexuality and sex scandals. These debates culminate in the revelation of Benitez's intersex identity, a bold screenplay choice that opens up a reflection oninclusivity and how theChurch might embrace diversity without denying its fundamental dogmas.
Edward Berger demonstrates a perfect mastery of atmosphere. The music, at once urgent and discreet, establishes a climate of underlying tension, while the cinematography sublimates the Vatican settings, giving the film an almost sacred dimension. The candlelit voting scenes in the Sistine Chapel are of rare visual and emotional intensity, reminding us of the spiritual stakes behind this political process.
However, this contemplative slowness can sometimes weigh on the pace. Viewers in search of a fast-paced thriller may find themselves thrown off course by the film's methodical narrative progression, which takes time to develop its characters and conflicts. While some critics have compared Conclave to a soap opera, this stylistic choice remains faithful to the original material, allowing total immersion in papal intrigue.
Conclave 's casting is one of its strong points. Ralph Fiennes brilliantly embodies a man both wise and vulnerable, torn between his religious duty and his conscience. Isabella Rossellini, as Sister Agnes, a key nun in the plot, offers an enigmatic and captivating presence, while John Lithgow and Luis Gnecco bring complex nuances to their characters. Each actor enriches the film, making this gallery of cardinals a credible representation of human and spiritual struggles.
Far from being a mere historical reconstruction or literary adaptation, Conclave is a contemporary reflection on the challenges facing theCatholic Church. Focusing on themes such as gender identity, the acceptance ofhomosexuality and the management of scandals, the film depicts a Church in the throes of change, faced with the need to evolve in order to remain relevant. Benitez's phrase, "I would have sinned even more by changing God's work than by leaving my body as it is", illustrates this desire to reconcile faith with human realities.
Despite its qualities, Conclave is not without its flaws. Some secondary narrative arcs lack development, such as Cardinal Tedesco 's motivations or the details of the relationship between the nun (Rossellini) and the institution. What's more, while the film's ending is bold and opens up fascinating perspectives, it may seem abrupt for those hoping for a more complete resolution.
Conclave is a dense, intelligent political thriller, supported by meticulous direction and outstanding performances. Edward Berger manages to capture the intensity of the Vatican' s internal struggles while offering a contemporary reflection on faith and power. While the contemplative pace and some unfinished narrative developments may put some off, the film stands out as a daring work at the crossroads of the mystical and the political. A fascinating look behind the scenes of theCatholic Church.
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