In his World War II drama “Nothing New in the West,” director Edward Berger examined the abyss of the trenches. In “Conclave” he peers into the abyss of the Vatican. A pope is elected and all the cardinals turn on each other. A story full of pulp and politics.
Of course this story could also be told in the Willy Brandt House. A story of power, faith, doubt and sovereignty in interpreting what constitutes an institution undergoing crisis, of controversies between men on progress and tradition and on the consequences of free thought.
However, the sacred shark tank of the Sozen Congregation would not provide images as chic as those of the Sistine Chapel and marble-columned corridors inside the Vatican in Edward Berger’s papal election thriller “Conclave.” Furthermore, one really doesn’t want to know what humanly bloody scenes will take place in the engine room of the SPD headquarters if a diadoch battle for the candidacy for chancellor breaks out in the next few weeks.
Even before his Oscar triumph with “All Quiet in the West,” Berger, free from any suspicion of hagiography, began work on “Conclave,” his film adaptation of Robert Harris’ bestseller The Confessed Atheist . However, those who expect an attitude from the film, a confirmation of their antipathy for an apparently fossilized and too powerful institution, can save themselves the rest of this text.
Theater is interesting
Berger and Peter Straughan, who created an almost classic plot from the electoral fable, laboriously revived into a thriller, are not interested in faith. She is interested in the theatricality that Catholicism has brought to the world.
The myth that transforms every papal election into an event, the world’s desire to look inside the mechanism at the end of which the absolute sovereign of approximately 1.4 billion believers looks out on the balcony over St. Peter’s Square. The collision between the sacred and the terribly profane, the stress test that modernity means, especially for a thousand-year-old and deeply ritualized community.
The Pope is dead, so the “Conclave” begins. He is taken out of the Vatican without much ceremony. He appointed Cardinal Lawrence master of ceremonies for the election of his successor. 108 cardinals arrive in the Vatican, isolated from the world in flames, whose explosions first shake the walls of the Sistine Chapel and then demolish them.
They wait for the Holy Spirit to give them the name of the colleague who will now direct the fate of the chair of Peter. Or to quasi-party political bargaining. This spring the current Pope Francis spoke personally about the tactics he adopted: in 2005 he was sent in the conclave race for the papal crown – essentially against his will – to prevent the election of the future German Pope Benedict.
Nobody has one on their bill
In the film there is a tough, Muslim-eating conservative who is Italian, but probably not coincidentally named Tedesco. A liberal. An African for whom gays belong in hell. And then a calm man appears, almost a guru, who knows exactly how things are going in the world, who is Mexican and is a cardinal of Kabul. And that no one has on their bill.
Edward Berger is interested in rituals, spaces, gestures, the observation of faces in movement, group choreographies, the rubbing of the profane against the sacred. In classic Hollywood style, he updates the Vatican film with the latest speeches. “Conclave” is pulp and politics. And a very large cinema.
How does “Conclave” relate to contemporary discussions about the relevance of the Catholic Church?
Interview Between Time.news Editor and Film Director Edward Berger
Time.news Editor: Welcome, Edward! It’s a pleasure to have you here. Your latest film, “Conclave,” takes us into the intricate world of the Vatican during a papal election, much like how you previously explored the trauma of World War II in “All Quiet on the Western Front.” What inspired you to delve into this fascinating yet complex story of power and intrigue within the Church?
Edward Berger: Thank you! It’s great to be here. The idea for “Conclave” stemmed from my interest in the dynamics of power and the rituals surrounding institutions, especially those as significant as the Vatican. Drawing from Robert Harris’ novel “The Confessed Atheist,” I was intrigued by how the papal election reflects broader themes of faith, doubt, and human ambition. It’s a rich tapestry of human emotion and conflict, which I find endlessly compelling.
Time.news Editor: The themes of power, progress, and tradition seem central to the film. Can you elaborate on how “Conclave” navigates these elements, especially in terms of the personal conflicts among the cardinals?
Edward Berger: Absolutely. At its core, “Conclave” is about the theater of human ambition—how personal beliefs clash with institutional traditions. The cardinals represent a microcosm of society, grappling with their own ambitions while being steeped in centuries-old traditions. As they enter the conclave, the stakes become extraordinarily high. It’s a pressure cooker of emotions where faith intersects with doubt, and that tension fuels the narrative.
Time.news Editor: You mentioned the theatricality of Catholicism in your collaboration with writer Peter Straughan. How does this theatrical element influence the storytelling in “Conclave”?
Edward Berger: The theatricality of Catholicism is indeed fascinating. There’s a unique spectacle that surrounds the papacy, which I wanted to capture. The rituals, the grandeur of the Sistine Chapel, and the anticipation of the world watching—it all adds to the drama. But rather than revering the institution, we aimed to reveal it as a stage for the very human traits of ambition, jealousy, and the struggle for power. It’s a complex dance between the sacred and the profane, and our goal was to portray that tension authentically.
Time.news Editor: In your previous works, you’ve often shown a deep understanding of historical trauma. How do you see this film connecting to contemporary issues, particularly with the ongoing discussions around the relevance of institutions like the Church in modern society?
Edward Berger: That’s an excellent question. “Conclave” resonates with contemporary themes of institutional crisis. In an era where many institutions, including religious ones, face scrutiny and challenges to their authority, this film becomes timely. It reflects the broader questioning of values and loyalty, which is prevalent in today’s socio-political climate. The Vatican, with its rich history and recent controversies, serves as a powerful backdrop to explore these ideas.
Time.news Editor: Lastly, what do you hope audiences take away from “Conclave”? Is there a particular message or feeling you want to evoke?
Edward Berger: I hope audiences leave the theater with a sense of the complexity of human nature. “Conclave” isn’t merely a critique of the Church or a glorification; it’s an exploration of our collective struggles with faith, authority, and desire. Ultimately, I want viewers to reflect on how these themes are woven into the fabric of our lives, whether in religious institutions or beyond. It’s a narrative about the human condition, one that invites dialog and reflection.
Time.news Editor: Thank you so much, Edward. Your insights have given us a deeper understanding of what promises to be a compelling film. We look forward to its release!
Edward Berger: Thank you for having me! I can’t wait for everyone to experience “Conclave.”
