At The Movies: Vatican power play gets human touch in Conclave

Conclave (M18)

120 minutes, opens on Jan 2 ★★★★☆

The story: Following the unexpected death of the pope, it falls on Cardinal Lawrence (Ralph Fiennes), dean of the College of Cardinals, to organise the papal conclave, a gathering of cardinals from around the world given the task of electing the new pontiff. As the clerics prepare for sequestration, Lawrence receives disturbing information about several candidates. Once the doors are locked, he finds himself investigating the rumours. 

Under magnificent frescoes that speak of divine grace, men with all-too-human flaws gather to choose God’s representative on Earth. 

In lesser hands, Conclave might have been a political thriller that happens to take place at the Vatican, similar to how some horror movies use exorcism as a device without addressing the religious doctrine underlying the practice.

Under Germany-born Austrian-Swiss film-maker Edward Berger’s direction, institutional culture is so deeply woven into the story that Catholicism becomes a vital presence. 

British screenwriter Peter Straughan, in adapting Robert Harris’ 2016 novel of the same name, reveals the cardinals’ humanity in small but powerful ways. These esteemed men in their 60s and 70s behave like any group under pressure – they form cliques, gossip and backstab.

As Lawrence probes deeper, he discovers a painful irony: Those with the firmest grip on their faith often show the least compassion, even as he struggles with his own religious doubts. 

Straughan’s sharp humour can be seen in the black comedies The Men Who Stare At Goats (2009) and the underrated Frank (2014). In Conclave, his comedic outlet is Italian actor Sergio Castellitto, who delivers a scene-stealing performance as the conservative Cardinal Tedesco. His tough-talking realism masks a tragicomic delusion about returning Catholicism to an imagined golden age.

Lawrence is a tragic figure, a decent man given the messy job of managing a group of political rivals and, worse, forced into choosing between friendship and duty. Fiennes brings great depth to the character, creating a strong portrait of a reluctant power broker whose yearning for a monastic retreat clashes with his public obligations. 

His story unfolds against the backdrop of an institution facing profound change, wrestling with the women’s movement and the aftermath of abuse scandals. 

Isabella Rossellini brings quiet strength to Sister Agnes, the nun who oversees the cardinals’ enclosure. Though officially subordinate to the men she serves, her watchful presence illustrates the hidden power of women in the Church. 

Berger, whose Oscar-winning All Quiet On The Western Front (2022) demonstrated his gift for revealing irony through contrasts, brings the same skilled eye here. His camera glides effortlessly between Vatican splendour and human frailty, finding moments where time-honoured rituals give way to stark reality.

Hot take: In this gripping Vatican thriller, Fiennes leads a superb cast in a story that finds tense drama in the gap between saintly ideals and human weakness.