Valdone Rudenkiene\/Tie2.lt<\/p>\n
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<\/em>?<\/p>\n Based on Robert Harris’s novel, Conclave<\/em>\u2014a film that earned a Golden Globe Award and an Oscar nomination\u2014takes 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\u2019s death, but it feels more like a modern political thriller. Directed by Edward Berger, whose All Quiet on the Western Front<\/em>(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.<\/p>\n Still, the film\u2019s psychological atmosphere is its driving force. According to the filmmakers, Conclave<\/em> 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.<\/p>\n 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\u2019s hierarchy, its themes are universal, exposing human frailties ranging from personal doubts to political scheming. \u201cIt\u2019s not just about religion,\u201d Harris says. \u201cIt\u2019s about inner trust and the forces that shape our decisions.\u201d<\/p>\n Berger agrees that politics dominate Conclave<\/em>, but he highlights a \u201cprofound second layer\u201d that underpins the story: Lawrence\u2019s internal struggle. \u201cHe\u2019s experiencing a crisis of faith. He says, \u2018As a cardinal, I struggle with prayer.\u2019 It\u2019s like me saying, \u2018I struggle to trust the images my camera captures.\u2019 It\u2019s an existential crisis,\u201d Berger explains. He believes this theme will resonate with audiences. \u201cIn the film, it\u2019s framed through religion, but it could represent any inner conflict or self-doubt. That\u2019s what inspired me to make this film.\u201d<\/p>\n Another significant aspect of Conclave<\/em> is Isabella Rossellini\u2019s 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, \u201cGod gave us eyes and ears.\u201d Berger elaborates: \u201cI always told Isabella that when she\u2019s on screen, we must really see her\u2014what she\u2019s thinking, what she\u2019s feeling. She wasn\u2019t just part of the scene; she was<\/em> the scene.\u201d Consequently, close camera work was used to highlight her presence, reinforcing how a patriarchal structure begins to crack in this part of the story.<\/p>\n Though the film\u2019s narrative is coherent, logical, and compelling\u2014heightened by tension-filled situations and emotional personal journeys\u2014the ending has left many viewers puzzled. The screenwriter comments, \u201cI consulted a clergyman who confirmed that\u2019s how it happened.\u201d What exactly happened? Let\u2019s leave the intrigue intact.<\/p>\n A separate discussion is warranted for the film\u2019s aesthetics, which play a uniquely important role. When film aesthetics become part of the storytelling, the experience goes beyond the narrative itself\u2014viewers 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\u2014though the score is powerful in its own right. The camera moves as if guided by the director\u2019s gaze, inviting us to follow. This reflects Berger\u2019s signature style. Consider All Quiet on the Western Front<\/em>, where the story is told by following the lens, and it\u2019s 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<\/em>.<\/p>\n","protected":false},"excerpt":{"rendered":" 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 […]<\/p>\n","protected":false},"author":4,"featured_media":110170,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[197],"tags":[],"class_list":["post-110385","post","type-post","status-publish","format-standard","has-post-thumbnail","category-cinema"],"yoast_head":"\n