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That is probably the key point with which Cardinal Thomas Lawrence (Ralph Fiennes) addresses his fellow cardinals as he kickstarts the titular conclave to elect the next pope. And doubt is something that Lawrence is certainly plagued with; from self-doubts about his own faith, to major doubts about the motives and agendas of the cardinals present and those that are frontrunners to become "the most famous man in the world".
Conclave opens with the death of the pope, and then puts us in Lawrence's shoes as he investigates the circumstances behind that death while also preparing for the inevitable transition. This includes handling the personalities and frictions between the lead aspiring candidates which includes Aldo Bellini (Stanley Tucci), an American liberal; Joseph Tremblay (John Lithgow), a Canadian moderate; and Goffredo Tedesco (Sergio Castellitto), a hardcore traditional.
Contrasting with the nature of the event and what is expected of the people involved, Conclave is plagued with secret scandals, gossip, backdoor machinations, backstabbings, selfish ambitions, and even an opportune explosion. All of those reinforce Lawrence's doubts in himself and the process. To add to that, a previously unknown archbishop arrives out of nowhere claiming the backing of the deceased pope.
There are a bunch of things I liked about this film, starting with the craft with which it is made. From Edward Berger's direction to Stéphane Fontaine's gorgeous cinematography. The careful construction of images, the blocking, the careful use of lights and shadows to underscore hidden motivations and things coming to light; it was all masterful. Imagine my surprise when I found out that out of eight (8) nominations, cinematography was NOT one of them.
The other thing I liked was, obviously, the acting from pretty much everybody. Even though it is Fiennes who single-handedly carries the film, earning him a well-deserved Oscar nomination, he has lots of help from the likes of Tucci and Lithgow. Isabella Rossellini complements them in the role of Sister Agnes, one of the "invisible" nuns that are running the show. Even though I'm still not sure if her performance deserved a nomination, she was pretty good in it.
Incidentally, Rossellini subtly drives one of the main points about the film, which is the power hierarchy of men in the Catholic church, contrasted with the alleged "invisibility" of women; something that you can say becomes more important as the film goes on. Because, what role can a woman have in this "world of men"?
Grade:
CONCLAVE
(2024, Berger)
(2024, Berger)
"Our faith is a living thing precisely because it walks hand-in-hand with doubt. If there was only certainty and no doubt, there would be no mystery. And therefore no need for faith."
That is probably the key point with which Cardinal Thomas Lawrence (Ralph Fiennes) addresses his fellow cardinals as he kickstarts the titular conclave to elect the next pope. And doubt is something that Lawrence is certainly plagued with; from self-doubts about his own faith, to major doubts about the motives and agendas of the cardinals present and those that are frontrunners to become "the most famous man in the world".
Conclave opens with the death of the pope, and then puts us in Lawrence's shoes as he investigates the circumstances behind that death while also preparing for the inevitable transition. This includes handling the personalities and frictions between the lead aspiring candidates which includes Aldo Bellini (Stanley Tucci), an American liberal; Joseph Tremblay (John Lithgow), a Canadian moderate; and Goffredo Tedesco (Sergio Castellitto), a hardcore traditional.
Contrasting with the nature of the event and what is expected of the people involved, Conclave is plagued with secret scandals, gossip, backdoor machinations, backstabbings, selfish ambitions, and even an opportune explosion. All of those reinforce Lawrence's doubts in himself and the process. To add to that, a previously unknown archbishop arrives out of nowhere claiming the backing of the deceased pope.
There are a bunch of things I liked about this film, starting with the craft with which it is made. From Edward Berger's direction to Stéphane Fontaine's gorgeous cinematography. The careful construction of images, the blocking, the careful use of lights and shadows to underscore hidden motivations and things coming to light; it was all masterful. Imagine my surprise when I found out that out of eight (8) nominations, cinematography was NOT one of them.
The other thing I liked was, obviously, the acting from pretty much everybody. Even though it is Fiennes who single-handedly carries the film, earning him a well-deserved Oscar nomination, he has lots of help from the likes of Tucci and Lithgow. Isabella Rossellini complements them in the role of Sister Agnes, one of the "invisible" nuns that are running the show. Even though I'm still not sure if her performance deserved a nomination, she was pretty good in it.
Incidentally, Rossellini subtly drives one of the main points about the film, which is the power hierarchy of men in the Catholic church, contrasted with the alleged "invisibility" of women; something that you can say becomes more important as the film goes on. Because, what role can a woman have in this "world of men"?
Grade: