TELLURIDE – If you know anything about the long history of the Catholic Church, you know that it can be messy, cutthroat, and political. And that’s just in the confines of the Vatican. It’s no surprise then, that the ritualistic selection process for a new Pope is perfect fodder for a tantalizing thriller. A naturally dramatic storyline that Edward Berger’s “Conclave,” a world premiere at this year’s Telluride Film Festival, mines almost flawlessly.
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Granted, the papal voting process – defined as a conclave – has been the subject of film and television before. This version of the story, adapted from Robert Harris‘ 2016 novel, differs in that it considers the scenario from a very contemporary perspective This isn’t just a game of control of, arguably, the most followed religion in the world. No, this is a fight for the progressive future of the church in an era where religion is once again at the center of the global culture wars. And while this film began production a good 10 months before the current Israeli-Palestinian war, that conflict, along with the worldwide migrant crisis and the battle over LGBTQ+ rights, play out perfectly in the framework of Peter Straughan’s screenplay.
The film begins with the unexpected passing of a Pope. The dean of the College of Cardinals, Cardinal Lawrence (Ralph Fiennes), has to effectively manage the centuries-old tradition of selecting a new spiritual leader for the church. Lawrence is trying to remain above the fray and neutral as the campaigning among the Cardinals for votes begins but privately favors the more liberal Cardinal Bellini (Stanley Tucci), a longtime ally of the former Pope, over the ultra-conservative Italian contender Cardinal Tedesco (Sergio Castellitto). In Lawrence, Bellini, and other Vatican priests’ eyes, Tedesco is a nuclear option that would take the church back six decades or more. The other frontrunners, sadly, are not that much better. Nigeria’s Cardinal Adeyemi (Lucian Msamati) would be the first African and Black Pope in history, but his social stances are almost as horrifying as Tedesco’s. That leaves Quebec’s Cardinal Trembley (John Lithgow), who is a manipulative powder keg hungry for power.
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Making Lawrence’s life more complicated is the surprise arrival of an unknown Cardinal, who the previous Pope had secretly assigned to a ministry in Kabul, Afghanistan. A native of Mexico, Cardinal Benetiz (Carlos Diehz), has a legal right to participate in the proceedings under Vatican law. Still, his fellow Princes of the Church are skeptical of his legitimacy. Even after it’s proven he’s served the Church in hotspots they would never dream of setting foot in, such as Africa and the Middle East.
As the Cardinals begin their sequester under darkened windows, Lawrence once again begins to question his faith. A faith that is tested even more as the voting process wears on and, much to his dismay, he finds himself pushed into the role of papal investigator. There’s that missing report the Pope had commissioned on Trembly’s actions. One witness also says the Pope had relieved Trembly of his duties right before his death. But he’s not the only problem child. After gaining ground in the voting process, Adeyemi has a dramatic confrontation with a Nigerian nun in the communal dining room. Moreover, Lawrence’s friend Bellini, who continually insists he doesn’t want the job, may not be the angel his supporters believe he is.
Watching all of this from the sidelines is Sister Agnes (Isabella Rossellini). Responsible for running the Casa Santa Marta dormitory where the Cardinals are sequestered, she, In many ways, is the eyes and ears of the everyday members of the church. Considering what she’s seen, she may not be able to stay quiet for much longer.
Reuniting with his “All Quiet on the Western Front” team, Berger sculpts a slow burn of a thriller that climaxes with marvelous effect. Considering that most of the film occurs inside, at one expanded location, Berger’s eye and cinematographer Stéphane Fontaine’s camerawork make sure that a story that could have seemed claustrophobic feels more cinematic than anyone would expect. Nick Emerson‘s editing is absolutely killer, while Volker Bertelmann‘s original score soars when it needs to and never overwhelms the narrative fireworks onscreen.
The film’s best contribution may come from Fiennes himself. Essentially a cinematic legend at this point, the British actor expertly conveys the emotional rollercoaster that Lawrence is attempting to shield from his fellow Cardinals. Lawrence is often seething underneath his cold exterior. When he’s pushed to the brink, Fiennes explodes with an intensity that many of his celebrated peers would have taken a wee too far. Fiennes is so good that his performance ends up overshadowing exemplary work from Tucci, Lithgow, and Msamati (who probably deserved more screen time). Not surprisingly, the one co-star who matches Fiennes tit for tat is Rossellini, who, despite less dialogue than you might expect, often steals a scene with just a sly smile or strategically curt response.
Of course, like any good page-turner, “Conclave” is full of twists. Some you’ll see coming, and others will genuinely shock you. But this is smart, fiery melodrama. Just do your friends a favor. Don’t spoil the biggest secret of them all (don’t worry, it will make sense later). [B+]
“Conclave” opens in limited release on November 1st.
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