The idea of the papal conclave began in the late 1200s following Pope Gregory X's decree in an attempt to shield the process of selecting a new pope from political interference. Over 800 years later, this practice continues, and I can only assume that politics plays just as much a role in today's selection as it did then.
Edward Berger's Conclave takes us inside a fictional conclave led by Cardinal Lawrence (Ralph Fiennes). Cardinals from all around the world congregate in Vatican City, with Italy's Cardinal Tedesco (Sergio Castellitto) and America's Cardinal Bellini (Stanley Tucci) emerging as frontrunners for the position. Mirroring the left-right politics of today, Bellini unequivocally states that, under his leadership, the church will take a more progressive stance, and Tedesco uses the state of the world today to convince his colleagues that a return to conservatism will be a return to order.
Berger peppers the film with contemporary touches that play comically in some instances (watching a cardinal vape is truly something to behold) and layered in others. Thematically, Peter Straughan's script doesn't shy away from issues that hold prominence in the present, using them to emphasize the notes of tradition existing across the set and within characters like Tedesco.
Berger re-teams with composer Volker Bertelmann, who won an Academy Award for their last collaboration, All Quiet on the Western Front, and, once again, Bertelmann brings the orchestral heat. Strings punctuate the tension, as softer movements bring auditory life to the beautiful imagery captured by cinematographer Stéphane Fontaine. Working together, the Papal Palace feels vast and grand, underscoring the importance of the decision ahead of these men.
As the self-imposed neutral party in this endeavour, Lawrence is at the centre of this drama but stands still as everyone and everything moves around him. As a result, Fiennes turns in a restrained performance that feels magnanimous, even more so when topped off with a stirring monologue. In contrast, Castellitto and John Lithgow as Canada's Cardinal Tremblay bring loquacious vibrance to the film, while Tucci grounds the ensemble with a steady turn.
Similar to All Quiet, Berger brings together the best of the best on every front, creating a technically distinct work of cinema. It's in the final moments that Conclave stumbles with an ending that comes out of left field of a ballpark across the country. The conclusion mirrors the source material (a novel of the same name written by Robert Harris); however, where breadcrumbs are dropped in the book, the film doesn't apply the same delicacy.
Regardless, Conclave remains an awe-inspiring example of how stunning cinematography and an effective score can not only elevate a film but define it.