• Release year: 2024
• Director: Edward Berger.
• Producers: Alice Dawson, Robert Harris, Juliette Howell, Michael Jackman, and Tessa Ross.
• Screenplay by: Peter Straughan and Robert Harris.
• Cinematography by: Stéphane Fontaine.
• Music by: Volker Bertelmann.

Shotgun Commentary: riveting mystery with exciting twists and turns. And yeah, I am as surprised as you to be saying this about a Church-themed film.

Review

Conclave is unlike any Church-related content you’ve seen before. It is a magnificent thriller with surprising twists, riveting storylines and compelling characters. For anyone who doesn’t particularly enjoy religious themes, worry not, this is mostly a film for mystery fans. Still, it would do lots of religious people (all religions) good to watch this feature, as its secondary topics are principles found in most religion’s theory but seldom practised by their followers in real life.

Mystery and commentary

This film follows a reluctant Dean of the College of Cardinals who has to organise the conclave to elect the next Pope, turning into an also reluctant detective in the process. Most of the movie’s appeal is due to its incredible cast. Fiennes plays the role of Dean/detective superbly. Surprising no one, he gives life to the most lovable and amusing fictional Church man since Father Brown (2013 – present). His lack of interest for the ceremony, the papacy and indeed everyone involved, makes him, not only the best Dean, but the best protagonist for the story.

As for the supporting cast, they are all perfect in their roles. However, Stanley Tucci as Cardinal Aldo Bellini and Isabella Rossellini as Sister Agnes shine bright thanks to the charm of their characters. Both imperfect yet both incredibly likeable. Their rebellion against the hypocrisy of the ecclesiastical system is one of the strongest points of the script.

Small-scale government

Additionally, if you look into the extremes of the aforementioned matter, you will find Cardinals Tedesco (Sergio Castellitto) and Benitez (Carlos Diehz). One being the embodiment of the most backwards, full-on Nazi mentality that makes the Church loathsome for so many people. The other one, the embodiment of what the Church should be: acceptance, love and support.

From their opposite positions, and along with the other candidates for the papacy, they offer a comprehensible example that could very well be applied to politics as well as religion itself. An example whose consequences are summarised beautifully by Lawrence’s speech about certainty.

In fact, mystery and morality are the main two currents that form the unpredictable river that is the plot of Conclave. One that, like a magician’s trick, makes you look to one hand when it’s the other doing the magic.

As a result of this love for the distraction, the feature is weirdly fun. From cardinals having a smoke, to Mandorff (Thomas Loibl), Lawrence’s secretary, and his off-scene investigations, lots of unchurch-like behaviours are seen on screen and, for once, they are quite amusing instead of nauseating.

Lights, camera, action!

Of course, most of the gravity of Conclave is not only created by a great script and talented acting. The beautiful cinematography and a flawless score also provide the necessary atmosphere to deliver each part of the story. Grandiose shots show the offensive abundance of the Church, their possessions achieving their goal of making you feel small. The contrast with the close-ups of the characters, which expose what lies beneath their facades, and the medium shots of mundane actions that almost make you think that their lives nothing but ordinary.

This variety of shots, along with thought-out movements and angles to highlight certain moments, aid the storytelling without hoarding any attention. The spectator remains a fly on the wall, enjoying the beauty of the story without losing track of the plot.

Of course, this effect wouldn’t have been possible were it not for the carefully curated imagery created as a result of the combined efforts of the production design, makeup, hairstyle, and wardrobe departments. The first creating those lavish environments we are sadly used to seeing the members of the Church in, and the next two being perfectly discreet.

As for the last one, it balances discretion and luxury with the creation of ecclesiastical clothes for different members of the organisation. While daily clothes are quite plain, the ones used during important events are incredibly complex and require a high level of craftsmanship. A level that is more than met with by the wardrobe department of Conclave.

The sound of music

As for the score, it does get a bit annoying at the beginning with the incessant banging. Especially if you enjoy the film in the cinema. Nevertheless, everything else about it is nothing short of perfect. Avoiding the well-known ecclesiastical singing as much as possible, it focuses on traditional orchestral compositions that are delightful in any context.

Of course, they accompany the story wonderfully. Yet, they can just as well be enjoyed outside the film if you are a fan of instrumental music. Surprisingly enough, if you want to hear churchlike choir singing, you’ll have more luck watching The Nun (2018) than this film.

All in all, Conclave is a great film for anyone who is entertained with a good mystery, regardless of their beliefs. Far from a Church advertisement, the movie’s aim is to expose the hypocrisy of businesses made from faith and the need for real change in those who proclaim to be defenders of everything that is good and fair.

Advice to take from this movie:

• The Church is a rotten, hypocritical organisation for the most part.
• Never stop questioning the world around you.
• The lesser of two evils is still evil.

What’s your take? Have you watched Conclave? Don’t hesitate to let me know your thoughts in the comments section below, or leave a message in my contact page! For more reviews and cinema-related articles, check out the rest of my blog! 😀