The Two Popes may have shown us that the politics of the Vatican can make for a surprisingly interesting subject for a film, but Conclave shows us that it can be enthralling. Edward Berger’s drama transcends conversations about faith and asks about men and values. The idea that selfishness and lies prevail in any space of remote competition or power is about so much more than the Catholic Church, but there are genuine stakes and universal truths to the story here.
Ralph Fiennes gives one of his best performances ever as Cardinal Lawrence, a man trying to guide his belief in his Church and his peers while grappling with his understanding of faith and his place there. His character does what he feels is necessary but there’s a prevalent goodness and softness to Fiennes’ performance that beautifully accompanies his wisdom and elegance. Fiennes gives a breathtaking monologue about the coexistence of doubt and faith that took the air out of the theater -- and that’s only half an hour in. I could’ve watched Fiennes embody this character for hours. Stanley Tucci is also exceptional as another one of the more moral members of the Church.
The cinematography is stunning, with colors that always stand out, and symbolism in items or actions. Even a light entering a room represents so much more for the characters and their path ahead. The action movie-like orchestral score by Volker Bertelmann is enticing and helps define the pace, which never wastes a minute of its 2-hour runtime that flies by. Though a twist at the end feels unnecessary, the idea that men flock to accusations, deception, and harm when they need to cover for themselves is delivered with heft. Fiennes’ performance gives the film the identity it needs to connect, and the writing dissects the flaws of humanity and absolution with fascination and conviction. Berger’s outstanding film invites you to continue guessing, indulging, and marveling.
4.5/5
Review by: Gal Balaban