‘Conclave’ Review: A Visually Stimulating Thriller Tempered by a Lukewarm Ending

An older man trembles under the weight of his ornate ceremonial garb and hefty duty, declaring, “Certainty is the deadly enemy.”

There is little certainty, however, about who will become pope in “Conclave.” Directed by Edward Berger and based on a novel by Robert Harris of the same name, “Conclave” follows Thomas Lawrence (Ralph Fiennes), dean of the College of Cardinals, in the wake of the pope’s death. Now tasked with running the papal conclave, Lawrence must manage different factions among the cardinals while confronting his own crisis of faith.

“Conclave” draws in its viewer through political tension. Papal candidates must win a two-thirds majority of the College of Cardinals to become the pope. Several cardinals vie for the seat. Lawrence, an unwilling candidate himself, supports Bellini (Stanley Tucci), a progressive candidate who might prevent the conservative Tedesco (Sergio Castellitto) from unraveling the former popes’ reforms. Other candidates include Tremblay (John Lithgow), a moderate but ambitious figure, and Benitez (Carlos Diehz), a mysterious Archbishop of Kabul elected “in pectore” — used to describe secret cardinal appointments — by the previous pope.

The cast deliver breathtaking performances that embody diverse desires and hopes within the Catholic Church. Fiennes personifies a highly troubled but well-intentioned, devoted, and determined man, tightly holding onto his convictions. Lawrence’s rapport with Bellini, who Tucci plays with a whimsical touch, is very compelling, and their scenes together exude a noticeable chemistry. Yet the supporting cast provides an equally important role. Lucian Msatimi plays Adeyemi, a conservative cardinal from Nigeria who might become the first Black pope, and does a phenomenal job at displaying the deep ambition that sits at the core of many of the candidates.

Ironically, while the role of women in the Catholic Church is a critical theme and plot point in the film, “Conclave” lacks significant screen time for its main actress. Isabella Rossellini delivers Sister Agnes as stern, strict, but driven by a good heart and ultimately plays a critical role in the plot. More screen time certainly would have been appreciated, as Rossellini holds the only speaking role among the nuns in the film. Similarly, while Diehz is convincing as the soft-spoken and mellow Benitez, his characterization feels flat compared to his more dimensional peers due to a lack of screentime.

The cinematography and visual cues beautifully compliment the acting and themes of “Conclave.” The film is visually striking, with high-contrast shots of the red-robed cardinals spilling out onto white-tiled courtyards. Many scenes use visual motifs to emphasize the themes of the plot. While the cardinals and nuns conceal their true thoughts, the camera reveals their inner turmoil by focusing on hands with drawn-out shots of twitching fingers and clenched fists. Just as the Catholic Church is in a transitory state, many characters converse in door frames and cross through thresholds to indicate a scene change.

“Conclave” also offers a mesmerizing sound design. Much of the soundtrack features string pieces and chants which are unsurprising for a religious movie. However, the diegetic sound makes “Conclave” stand apart from its counterparts. In the voting scenes, the clinking of jewelry, the echo of whispers in the high-vaulted room, and shuffling footsteps add to the tension. In a later scene, when a window in the voting room is broken, the once-silent space is filled with birdsong and gusts of wind, symbolizing how the cardinals, despite their efforts to keep the event entirely religious, are influenced by the secular world.

The film struggles to maintain its tension and deliver a satisfying ending. “Conclave” sits at a constant simmer as Lawrence, rather predictably, uncovers the cardinals’ secrets, toppling their ambitions one by one. This structure, though somewhat predictable, offers satisfying revelations about each candidate. But the final twist about the elected pope is utterly shocking and unresolved. While foreshadowed and thematically fitting, the twist leaves viewers hanging, as the film offers little guidance on the implications of the revelation. The question of Lawrence’s faith looms in the air as it feels acknowledged yet insufficiently addressed by the film’s end.

In the end, while “Conclave” is a visually and sonically stunning exploration of Church politics and the cardinals’ inner turmoil, it falls short in providing an emotional resolution for its characters and its viewers.

—Staff writer Noelle J. Chung can be reached at noelle.chung@thecrimson.com.