Conclave (dir. Edward Berger)

By: Adam Freed

When a pope is called back to God, the search for the next leader of the Roman Catholic Church begins almost immediately.  A papal conclave requires a collection of global cardinals to meet in Rome in pursuit of a super majority decision, meaning that ⅔ of the voting body must agree upon the next man to lead 1.4 billion global Catholics.  Although this may seem like a very straightforward procedure, German director Edward Berger (All Quiet on the Western Front) helms Conclave, a fictionalized account of the age-old process, in which factionalism and political backbiting leads to a religious investigative thriller unlike anything in recent memory.  Bolstered by a world-class collection of renowned acting talent lead by Ralph Fiennes (Schindler’s List, The Grand Budapest Hotel), Stanley Tucci (Spotlight, The Devil Wears Prada) and John Lithgow (Bombshell, The Crown), Conclave is very likely to shake the cultural zeitgeist upon its late October release.

Berger’s film cautions audiences against those who seek the title of “His Holiness,” for the papacy is a burden, too large for any mortal man to desire.  The right candidate, according to Conclave, must be ordained by God, not by political aspiration.  With this central premise in mind, the film investigates a plethora of viable candidates, including those who may attempt to sit upon the Chair of Saint Peter through nefarious means.  “His Eminence” Cardinal Lawrence (Fiennes) is tasked with acting as dean of the conclave and therefore performs the duties of a moderator of perspectives in addition to becoming the leader of inquisitions in pursuit of a new pope.  Ralph Fiennes’ performance feels very much akin to a deeply religious version of Henry Fonda’s level headed Juror #8 in 12 Angry Men (1957).  Both characters seek truth above all else, separating them from a remaining cast of men who potentially risk a decision dripping with self-interest.   

Shot entirely on location in majestic Rome, Berger’s film is a rich mosaic of color and texture.  The marbled  floors and columns that accompany its surroundings provide Conclave’s director of photography Stèphane Fontaine, a wonderful backdrop on which to shoot.  Adding to the film’s visual intrigue is the exhaustively detailed religious vestments designed by Lisy Christl.  The spiritual gravity of each cape, cloak and zucchetto informs the film’s gravity at a cellular level.  What the cynical may dismiss as evidence of the church’s flamboyance, will be seen as a respectful authenticity by others.  Regardless of perspective, whatever dramatic predilections that Catholic church may possess, work only to multiply the intensity of the film’s building momentum.  

There is no denying that the polarized factions in pursuit of the holy throne add to the dramatic tension of Berger’s follow up to his outstanding remake of All Quiet on the Western Front.  There is also no hiding the film’s willingness to lean into the global tug of war between conservative and liberal ideologies. Just as those differing ideologies have carved their names in American history, they too are represented in the ever evolving positioning of the Catholic Church.  Very much in the investigative spirit of the great 70s era legal procedurals, Edward Berger’s film morphs into a sweaty palmed mystery with each vote building tension as the field of candidates is narrowed in pursuit of the man next in line to inherit Christ’s divine authority.

Target Score: 9/10 Offering a rich tapestry that melds dynamic performance, engaging cinematography and a tightly wound investigative plot, Conclave is instantly one of the year’s best films.  

Conclave is included in Movie Archer’s coverage of the 60th annual Chicago International Film Festival.  The film is distributed by Focus Features and opens October 25.