Film Review: CONCLAVE: A Delightful Papal Procedural [London 2024]

Conclave Review

Conclave (2024) Film Review from the 68th Annual London Film Festival, a movie directed by Edward Berger, written by Peter Straughan, Robert Harris and starring Ralph Fiennes, Stanley Tucci, John Lithgow, Sergio Castellitto, and Isabella Rossellini.

Ralph Fiennes is utterly captivating in a thrilling procedural that follows the election and ascension of a new pope. He must oversee this electoral process as conspiracy and corruption plague the papacy, where no one is to be trusted. Tense and exciting, Edward Berger finds a wonderful stride that is both compelling and pleasurable in Conclave, a film not necessarily of high art perhaps, but of intellectual entertainment nonetheless.

There is a quick and sharp pace to the entire film, one that is never bogged down by what could be a long and drawn out telling. Ralph Fiennes takes us breezily along as we are first privy to traditions and procedures that follow the death of a pope. It is intriguing but brief, one hoped Berger would peel away the shroud of the papacy further in such a film, but there is only a fleeting commentary on such matters. He is more concerned with its hosts – the cardinals who each seek to rule the papacy with different motivations and doctrines.

Cardinal Lawrence (Ralph Fiennes) is the most honest man among them. Watching him uncover secrets and intrigue while holding the conclave together is wholly gripping. The weight of such a responsibility weighs heavily upon him as he is pulled between different plots and factions, thoughtfully and sympathetically played by Fiennes, who truly illuminates the role. He imbues a levity and humanity to the Dean that is fascinating to watch, as he wrestles too with his own faith. The supporting cast are equally spectacular, providing the film with a sharp and sophisticated tone that elevates the entire project; the work’s success lays firmly in their hands.

Its enigmatic, mysterious nature is delightful to watch as we slowly uncover the schemes and agendas of our various cardinals. The score works wonderfully to keep a sense of gravity and urgency through the mystery and conspiracy, with composer Volker Bertelmann returning to work with Berger again after their previous All Quiet on the Western Front. He works similarly here, creating a plosive and memorable score from but a few notes, a booming cello riff that reverberates through the entire film. It quickens its pace, strikes a clear tone and truly defines the magnitude of such an election.

Equally, Berger imbues the camera with a cool and calculated tone befitting a procedural of this type. The cinematography is efficient, not altogether artful but far from banal, with wonderful contrasts of reds and whites visually stimulating on the screen. It is stern, refined, and consistent, even occasionally provocative. There is a wonderful traditionalism in the sets and costumes here too that are also cleverly contrasted with objects of the modern world in moments of clever wit: the image of a traditionalist cardinal smoking a vape is indeed a humorous one. Conclave is equally witty throughout its entire runtime, where moments of levity amongst the seriousness are plentiful and amusing.

There are moments towards the end that are slightly absurd, but wonderfully so. The ending is outright ridiculous, but its implications are at once hilarious and delightful to see in equal measure. Its message is commendable and entirely earned, thoroughly entertaining and wholly surprising to see unfold.

Conclave is truly amusing from start to finish, undeniably compelling from its Christian conspiracies to its persuasive performances. Ralph Fiennes and his supporting cast are brilliant, sincerely instilling the film with a sense of gravitas it so deserves. Berger will not challenge nor provoke any meaningful discussion on the papacy from Conclave, but he will amuse and delight entirely, capturing the weight and seriousness of such an event, here made wholly entertaining to watch.

Rating: 7.5/10

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