Pope Benedict liked to drink Fanta and relax on the sofa. The characters in “Conclave” can only dream of this southern German serenity. When the cardinals in the Vatican have to meet to elect a new pope, there is a lot of intrigue behind the scenes. A cardinal has the task of organizing the conclave while maintaining a cool head.
It is the first Hollywood film by German director Edward Berger, who won an Oscar in 2023 with his anti-war epic “All Quiet in the West.” Netflix’s German-British-American co-production received nine nominations. “All Quiet on the Western Front” ultimately won four, including the award for best international film.
What is the relationship between faith and Church?
It remains to be seen whether Edward Berger will face the same fate with his latest film “Conclave.” In any case, the large cast of the two-hour drama speaks out against this, especially the lead actor Ralph Fiennes. He plays Cardinal Lawrence, who, after the death of the pope, must organize the next conclave, protect the cardinals from political turmoil in the outside world and from their own intrigues – and in the meantime he himself struggles with his faith in God.
When a new cardinal appears from Kabul just in time for the election of the pontiff, whose existence until then no one knew, the conflicts in the ranks of the clergy gradually come to a head. Cardinal Lawrence secretly supports the liberal Cardinal Bellini (Stanley Tucci), who is very close to the former pope. But conservative candidates are also running for office and trying to rally the majority of cardinals behind them.
What is the relationship between faith and the institution of the Church? This is the fundamental question of the film. “Conclave” examines this relationship in a very analytical way and illuminates its facets in the relationships between the cardinals, which are never just friendly and interpersonal, but always calculated and political.
“Conclave” – based on the novel of the same name by Robert Harris
British playwright Peter Straughan adapted the screenplay from Robert Harris’ novel of the same name. And this scores points with its intricate structure: in the heterogeneous network of power, friendships, personal beliefs and Christian faith, the conflicts of Vatican society never completely disappear, because they are too complex to be resolved in a simple script dramaturgy.
Things in “Conclave” are surprisingly quiet by Hollywood standards. The cardinals act with caution, even when a bomb explodes right next to the Sistine Chapel where the conclave is being held. Only in very few scenes do the characters emerge from their skin. The whole thing looks very European, but the opulent visuals continually remind us that we are watching a Hollywood film.
“Konklave” is a great drama cinema, with an exceptional cast, including supporting roles. Isabella Rossellini plays the iron-clad Sister Agnese, who leads the Vatican nuns and helps organize everything related to the upcoming conclave. Stanley Tucci as the liberal Cardinal Bellini and Carlos Diehz as the Cardinal of Kabul also remain in the memory long after the film ends.
We can only hope that Conclave isn’t Edward Berger’s last film in Hollywood. It is rare to see a German director working in America with such skill and without pretension. Far from the age-old German themes of cancer, rooster jokes and National Socialism, German directors are actually capable of making good films. Perhaps it was never German filmmakers who gave us bad films, but always German film financing agencies, who never knew what made good cinema.
Conclave with Ralph Fiennes, Stanley Tucci, John Lithgow and Isabella Rossellini. Director: Edward Berger. USA/GB 2024. Duration: 120 minutes. In German cinemas from 21 November.
How does “Conclave” compare to other films about the Catholic Church and its inner workings?
Interview Between Time.news Editor and Expert on “Conclave”
Editor: Welcome to Time.news! Today, we have the pleasure of speaking with Dr. Maria Thompson, a film scholar specializing in religious narratives in cinema. Dr. Thompson, thank you for joining us.
Dr. Thompson: Thank you for having me! It’s a pleasure to discuss such an intriguing film.
Editor: “Conclave,” directed by Edward Berger, explores the tension between faith and the politics of the Church during a papal election. As an expert, what stands out to you about this narrative?
Dr. Thompson: The film presents a fascinating clash of personal belief and institutional politics. Cardinal Lawrence, played by Ralph Fiennes, embodies this struggle, trying to orchestrate the conclave while grappling with his faith amidst a backdrop of power plays. This complexity makes the character relatable, as many viewers may have faced similar dilemmas in their own lives.
Editor: Absolutely. The film’s setting in the Vatican, with its historical significance, adds another layer. How do you think it influences the audience’s perception of the church?
Dr. Thompson: The Vatican is seen as a bastion of faith, but “Conclave” effectively peels back the layers, revealing the political maneuvering that exists. The introduction of a new cardinal from Kabul introduces fresh conflict, highlighting how external influences complicate internal Church dynamics. It humanizes the Church and makes the audience reconsider the relationship between faith and institutional authority.
Editor: This film seems to reflect a broader cultural conversation about faith in contemporary society. Do you see parallels between the film’s themes and current events within the Church?
Dr. Thompson: Definitely. The struggles of the cardinals mirror ongoing debates within the Church itself—issues like liberalism versus conservatism. It reflects a pivotal moment where the Church must grapple with its identity in the modern world, especially as global crises challenge traditional tenets.
Editor: Speaking of identity, the film’s adaptation from Robert Harris’s novel adds depth to the narrative. How do you think the source material contributes to the film’s complexity?
Dr. Thompson: Harris’s novel is rich in its exploration of power dynamics and moral ambiguity. Peter Straughan’s screenplay adaptation strives to maintain that intricacy, ensuring that the audience understands that the relationships among the cardinals are not merely personal but deeply calculated and strategic. This complexity allows for a more nuanced portrayal of faith in conflict.
Editor: That’s a great observation. Given Edward Berger’s recent success with ”All Quiet on the Western Front,” do you anticipate “Conclave” might follow suit in terms of accolades?
Dr. Thompson: While it’s difficult to predict, Berger’s talent for crafting emotionally resonant and thought-provoking narratives bodes well for “Conclave.” The film’s exploration of faith, identity, and the human condition is bound to engage viewers and critics alike. If executed correctly, it could indeed find its place in awards conversations.
Editor: It seems like we’re in for a profound cinematic experience. Before we conclude, what do you hope audiences take away from “Conclave”?
Dr. Thompson: I hope audiences walk away with a deeper understanding of the complexity of faith, as well as the intricacies of the Church’s inner workings. Ultimately, it’s about acknowledging that faith and politics are often intertwined, and that the quest for truth can be fraught with challenges.
Editor: Thank you, Dr. Thompson, for sharing your insights on this exciting film. We look forward to seeing how “Conclave” resonates with audiences!
Dr. Thompson: Thank you! I’m excited too. It’s going to be a fascinating release.