Valdone Rudenkiene/Tie2.lt
In the 15th century, Alexander VI, a member of the infamous Borgia family, was accused of bribing his way to the papal throne. In the 16th century, one conclave lasted 72 days, and when one of the main candidates died, rumors of poisoning circulated. At that time, Roman bankers placed bets on who would become the new pope, creating a link between historical intrigue and today’s media-driven spectacle. Could this connection be what the filmmakers sought to portray in Conclave?
Based on Robert Harris’s novel, Conclave—a film that earned a Golden Globe Award and an Oscar nomination—takes viewers behind the curtain of the secretive papal election process, complete with elements of intrigue, slander, and leaked information. The film dives deep into the clandestine and ritualistic process that unfolds in the Vatican after a pope’s death, but it feels more like a modern political thriller. Directed by Edward Berger, whose All Quiet on the Western Front(2022) won the Academy Award for Best International Film, the movie meticulously captures the procedures of the conclave while maintaining aesthetic precision. The central conflict reveals an ancient ritual thrust into the media-saturated, information-overloaded 21st century.
Still, the film’s psychological atmosphere is its driving force. According to the filmmakers, Conclave demonstrates that even the highest leaders of the Church wrestle with the same vulnerabilities and human flaws as laypeople. Despite their religious commitments, the cardinals face personal dilemmas and crises that reflect universal human struggles.
The story explores political and personal manipulation during the conclave, where cardinals vote for a new pope. Harris emphasizes that while the narrative revolves around the Church’s hierarchy, its themes are universal, exposing human frailties ranging from personal doubts to political scheming. “It’s not just about religion,” Harris says. “It’s about inner trust and the forces that shape our decisions.”
Berger agrees that politics dominate Conclave, but he highlights a “profound second layer” that underpins the story: Lawrence’s internal struggle. “He’s experiencing a crisis of faith. He says, ‘As a cardinal, I struggle with prayer.’ It’s like me saying, ‘I struggle to trust the images my camera captures.’ It’s an existential crisis,” Berger explains. He believes this theme will resonate with audiences. “In the film, it’s framed through religion, but it could represent any inner conflict or self-doubt. That’s what inspired me to make this film.”
Another significant aspect of Conclave is Isabella Rossellini’s portrayal of Sister Agnes, the head of the nuns who prepare meals, manage housekeeping, and generally serve the cardinals. Her role is meant to remain quietly in the background, yet as Agnes says in one scene, “God gave us eyes and ears.” Berger elaborates: “I always told Isabella that when she’s on screen, we must really see her—what she’s thinking, what she’s feeling. She wasn’t just part of the scene; she was the scene.” Consequently, close camera work was used to highlight her presence, reinforcing how a patriarchal structure begins to crack in this part of the story.
Though the film’s narrative is coherent, logical, and compelling—heightened by tension-filled situations and emotional personal journeys—the ending has left many viewers puzzled. The screenwriter comments, “I consulted a clergyman who confirmed that’s how it happened.” What exactly happened? Let’s leave the intrigue intact.
A separate discussion is warranted for the film’s aesthetics, which play a uniquely important role. When film aesthetics become part of the storytelling, the experience goes beyond the narrative itself—viewers are captivated by the visual and sensory impressions created by colors, lighting, and intricate details. Berger seems to have thought of everything here; even the intensity of the colors builds tension to the point where a soundtrack becomes unnecessary—though the score is powerful in its own right. The camera moves as if guided by the director’s gaze, inviting us to follow. This reflects Berger’s signature style. Consider All Quiet on the Western Front, where the story is told by following the lens, and it’s no surprise that the director knows exactly how to frame each shot and use the camera as an essential part of the storytelling in Conclave.