At first glance, “Conclave,” which came out on Nov. 5, feels like a solid distraction from post-election woes. Two hours in, the Sistine Chapel guided by some of the most distinguished character actors dressed in bright red robes fighting over the election of the Pope of the Catholic church isn’t a half-bad way to spend time at the movie theater.
“Conclave” is not about religion in the slightest. Rather, it’s about how to push an ancient institution forward into a progressive future and the dangers of giving leeway to regressive actors. Suddenly, “Conclave,” despite being about a 2,000 year old church, feels uncomfortably relevant to current events.
The story begins with Cardinal Lawrence (Ralph Fiennes) processing the death of the Pope and the knowledge that he will be in charge of the “conclave,” the process to pick the next Pope. Already struggling with his faith, the shadowy dealings of each candidates’ dirty secrets come spilling out as lead Cardinal Lawrence bends a few rules to manage an increasingly dirty process.
Director Edward Bergen’s previous film, “All Quiet on the Western Front,” has been called one of the best war films of the 21st century and won several Academy Awards as a result. “Conclave” has the tone of a war movie as well, and not just because Stanley Tucci (in fine form as a cowardly American Cardinal) literally yells, “This is a war!” in Ralph Fiennes’ face.
Through its charged, thrilling score that loudly punctuates each scene, the film illustrates the tense standoff between the progressive and conservative Cardinals. The cinematography, featuring bird-eye shots and bright bursts of red-robed cardinals streaming through each shot like blood, drives in how small and petty these mens’ dealings truly are.
But if this all sounds a little bit dull to prospective viewers, it should be said that “Conclave” is absolutely fun to watch. It’s fun to watch Ralph Fiennes dramatically reveal another Cardinals’ sins in the dining hall in the same vein of Regina George distributing Burn Book copies everywhere in “Mean Girls.” It’s fun to watch Isabella Rosselini’s underappreciated nun character drop some truth bombs before leaving a group of stupefied men with a dramatic curtsy.
For all their many faults throughout the film, the Cardinals do know how to create drama like no other group on Earth. If nothing else, there is one moment that will make every old person gathered in screening collectively gasp, and it’s worth seeing it in theaters.
Verdict: This film produces a solid time at the movies that isn’t quite an escapist fantasy but more of an entertaining parallel to our current political reality.
