Conclave

2024's CONCLAVE is set in the the vastness and mystery of the Sistine Chapel in Vatican City.  Where the College of Cardinals sequester to elect the next bishop of Rome.  The Pope.  The leader of the Catholic Church.  Director Edward Berger and screenwriter Peter Straughan create more of what I consider a political thriller than any nuts and bolts peek behind the curtain or theological study.  The intrigue of such an event is successfully mined for two solid hours, to my eyes never dry or dull.   Even if when carefully considered the entire thing plays like a rather dramatic high school election. 

The Pope has died.  Heart attack (this is no murder mystery).  Cardinal-Dean Thomas Lawrence (Ralph Fiennes) oversees the conclave, feeling unworthy as a candidate.  Aldo Bellini (Stanley Tucci) shares these feelings (about himself), but is more concerned that Goffredo Tedesco (Sergio Castellitto), a traditionalist, would set the Church back into the Dark Ages.  Both Thomas and Aldo have concerns about Joseph Tremblay (John Lithgow), who was alleged to have been asked to resign by the late Pope.

What of Joshua Adeyemi (Lucian Msamati) from Nigeria? Or the late arrival of Archbishop Vincent Benitez (Carols Diehz), who saw the horrors of war in Afghanistan? 

Thomas will learn troubling, potentially scandalous things about some of the candidates.  Things we've learned about American politicians.  Is it a surprise that the Church would keep unmentionables in the shadows?

CONCLAVE is not a tell all damnation of the Catholic Church.  There are plenty of other films to fit that bill.  It is a quiet yet urgent bit of storytelling designed to elicit suspense.  In a way, it's an elegant popcorn muncher.  High minded to some degree, but more concerned with narrative drive and audience captivation that any cutting satire or biblical exegesis.  Straughan's script does work in a jab or two, mainly through the dialogue.  The political ideologies of each candidate are thoughtfully considered and do inform each character.  Speeches by Thomas and Vincent will give more open minded and compassionate viewers some validation.  For others, hopefully food for thought.

Volker Bertelmann's score is significant.  Spare and complex by turns.  Disturbing most of the time.

The cast is expectedly excellent.  Aside from the leads, and Isabella Rossellini as Sister Agnes, I was not familiar with them.  Each create appropriately solemn men of faith with occasions to raise their voice.  

This is a film of craft, enough so to make many other contemporary films look static.  Stephane Fontiane's photography is often gorgeous.  The use of red (based on 17th century papal attire rather than current) never ceases to be striking.  Berger's direction is careful and mindful of every shot. His work here is of the best sort of storytelling via visuals.  We are told much, but shown even more.