The Vatican, a tiny, enigmatic seat of power with a global reach, remains a realm few can fully comprehend. Though spanning only 108 acres—about the size of a golf course—it stands as the sole sovereign nation capable of influencing the lives of over two billion Christians worldwide. Its unique structure makes it an absolute monarchy, not inherited by familial ties but governed by spiritual authority, with a population of fewer than 1,800 residents.
As the authoritative center for nearly 30% of the world’s Catholics, the Vatican wields a power that governs life and faith. Yet, this power—rooted in spiritual directives—is often shrouded in uncertainty. While many adhere to faith out of deep-seated tradition or inherited beliefs, others grapple with the weight of skepticism, choosing faith more out of habit than conviction. This complexity places a unique burden on the Vatican, much like other religious authorities, to guide followers on key social issues, from same-sex marriage to abortion and contraception. Making decisive rulings on such polarizing topics is no easy feat, especially in a world marked by diverse and often conflicting viewpoints. Here lies the delicate yet substantial responsibility the Catholic Church shoulders through its headquarters in the Vatican.
The allure of Vatican secrets has captivated the world, sparking curiosity and giving rise to a subgenre of films set against this intriguing backdrop. Some recent additions include The Young Pope (2016), The Two Popes (2019), and The Pope’s Exorcist (2023). Joining this list is Conclave, directed by Edward Berger and based on Robert Harris’s novel. Premiered at the Toronto International Film Festival (TIFF 2024), Conclave dramatizes a sudden papal vacancy and the ensuing closed-door assembly of cardinals—an intense portrayal of intrigue, political maneuvering, and the search for a new pope.
The story follows Cardinal Laurence, Dean of the Vatican, who finds himself reluctantly steering the conclave. While he accepts this role as divine providence, he quickly discovers it is fraught with power plays, whispers of scandal, and hidden agendas. Laurence is portrayed as a quintessential ‘good book’ figure, a candidate embodying the Platonic ideal that “the most suitable rulers are not those who desire power.” Despite his qualifications, he’s acutely aware of the lurking dangers of power, which he views with caution rather than ambition.
The race to the papal seat is marked by starkly different candidates: Cardinal Bellini, a liberal American with popular appeal; Cardinal Tremblay, a Canadian moderate, who brings a mysterious air; Cardinal Tedesco, a staunch conservative from Italy, intent on reining in progressivism; and Cardinal Joshua Adeyemi, a Black cardinal from Africa. Joining the mix is a secret nominee, Archbishop Benitez from Kabul—a cardinal appointed by the late pope “In Pectore.”
As the conclave advances through several rounds, each vote is symbolized by dark smoke billowing from the Sistine Chapel’s chimney until a decision is reached. Amid covert exchanges and whispered accusations, a revelation disrupts the process: a scandal tied to an illicit affair surfaces, threatening one of the candidates’ eligibility. This character pleads with Laurence to keep the matter concealed, but as evidence emerges, the scandalous affair is laid bare. Ultimately, Sister Agnes, a silent but perceptive nun, exposes the truth, adding an unexpected twist to the already volatile conclave.
Edward Berger, acclaimed for his recent All Quiet on the Western Front adaptation, brings nuance and gravity to Conclave, deftly balancing the sensitive intersections of tradition, power, and secrecy. Ralph Fiennes, in the role of Cardinal Laurence, delivers a masterful performance, embodying the role with a gravitas that feels irreplaceable. Supporting him are Stanley Tucci as Cardinal Bellini, John Lithgow as Cardinal Tremblay, and Sergio Castellitto as Cardinal Tedesco, each portraying their roles with complexity and conviction.
Isabella Rossellini, as Sister Agnes, captivates as the film’s quietly resilient nun. A daughter of cinematic legends Ingrid Bergman and Roberto Rossellini, Isabella brings an understated strength to her character. Her portrayal draws a parallel to the silent yet powerful nuns of the Vatican—observing all, saying little, yet understanding everything. Director Berger likened her performance to a delicate yet powerful move in a chess game, symbolizing the quiet force that stands resilient in a world dominated by men.
While Conclave may attract its share of criticism from traditionalists, Berger’s thoughtful storytelling offers a mirror to the timeless tensions between tradition and change. According to Bishop Robert Barron of the Diocese of Winona-Rochester, the film presents a provocative “falsehood, cleverly assembled with every modern ingredient to captivate.” Berger, however, reveals the film’s underlying theme as a deeply human exploration of faith and ambition within a confined, mysterious world.
Shot primarily at Cinecitta Studios in Rome, Conclave immerses viewers in the Vatican’s elusive ambiance, offering a compelling visual experience that matches its intricate storyline. Ending with the solemn image of the Sistine Chapel and its timeless secrets, the film leaves audiences with a haunting reflection on faith, power, and the sacrifices made within the Vatican’s hallowed walls. The turtle seen in the film can symbolize a religious authority that crawls along with the fast-changing times. The film ends with three nuns, laughing at the masculine dramas within the secluded Sistine Chapel, evoking a transformation from the solitude of silent monasteries to the promise of a brighter world outside, though such a shift remains a distant hope in reality.
Suresh Nellikode is a film critic
