Conclave, the latest adaptation of Robert Harris’ renowned book, directed by Edward Berger, which premiered at the 2024 Rio Festival as one of the big surprises and quickly became a strong contender for awards, including the Golden Globes. With a strong cast led by Ralph Fiennes and Isabella Rossellini, the film transports us to the secrets and intrigues that permeate the process of choosing a new pope, an event that takes place in the shadows of the Sistine Chapel, amidst burning ballots and white smoke.
“The throne of Santa Fe is vacant”
The plot unfolds after the unexpected death of a beloved pope, when Cardinal Thomas Lawrence (Fiennes) is entrusted with the immense responsibility of leading the conclave, a tradition of isolation and secrecy that dates back eight centuries. In an environment full of internal pressures, Lawrence quickly realizes that he is not only dealing with the selection of a new spiritual leader, but also finds himself immersed in a labyrinth of conspiracies and secrets that could shake the foundations of the Catholic Church.
Edward Berger’s direction captures the palpable tension in the corridors of the Vatican, from the reverent silence of the Sistine Chapel to the strategic whispers of ambitious leaders. Peter Straughan’s script balances thought-provoking dialogue with moments of reflection on the role of the Church in contemporary times.
“40 years without an Italian pope”
One of the strengths of “Conclave” is undoubtedly its art direction and photography. The unique atmosphere of the Vatican is portrayed with rich detail, creating a setting that not only serves as a backdrop, but as a separate character that influences the unfolding of the story. On the other hand, the film also provokes controversy. The reaction of the American bishop Robert Barron, who called for a boycott of the film, illustrates the impact that Conclave can have on the Catholic public. His criticism, which highlights a negative view of the Church’s hierarchy, points to an exposed nerve: the internal dynamics of the institution. However, it is precisely this internal division between progressives and traditionalists, which the film boldly addresses, that makes the narrative a relevant and pertinent theme.
Conclave does not shy away from discussing contemporary issues such as the role of women in the Church and the social changes that are at stake. By placing its characters in situations that challenge the traditional order, the film invites the viewer to reflect on the need for adaptation and transformation in a historic institution. Although the film embraces a critical perspective, it is also an invitation to dialogue on these issues, a journey that scrutinizes the ethos of the contemporary Catholic Church. The performances of Fiennes and Rossellini are powerful, bringing depth and complexity to characters who navigate this sea of ambition and faith.
In short, Conclave is a bold and visually impressive piece of cinema that, in addition to telling an intriguing story, provokes reflections on contemporary issues and the essence of power.
You can watch Conclave in theaters starting January 23rd.
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