At first glance, the story of Conclave appears similar to other narratives presented about the Vatican—death and replacement of the Pope, the powerful figure at the heart of Catholic religious-political authority. However, beyond the compelling tale of rivalry among cardinals competing for the papal seat, this film has far more depth to offer.
The movie opens with the scene of the Pope’s death, surrounded by his trusted confidants in the Vatican. Each of them, while mourning the loss of their highest-ranking figure, harbors separate thoughts and is already contemplating the upcoming days.
The title of the film refers to a real procedure within the Vatican. The Conclave is the process by which cardinals deemed eligible gather in complete seclusion—with neither they nor anyone else permitted to enter or leave—remaining there until they reach a consensus on choosing a new Pope from among themselves.
Within the Conclave assembly, similar to societies around the world, varying viewpoints clash in the struggle for power. On one side stands “Tedesco” (Sergio Castellitto), representing an extreme-right and racist viewpoint opposed to all manifestations of today’s evolving world, seeking to return the church to its fundamentalist roots. In most inconclusive voting rounds, he consistently ranks second. Opposing Tedesco’s ideology is “Bellini” (Stanley Tucci), liberal and somewhat left-leaning, determined not to lose the progressive achievements the church has attained, resisting any return to the days of the Inquisition. The leading candidate with the highest chance, however, is Tremblay (John Lithgow)—a man driven solely by ambition, willing to use any means necessary to overcome his rivals. To him, left or right does not matter; his single-minded pursuit is to don the Pope’s mantle.
The central character of the film is Cardinal Lawrence (Ralph Fiennes). With a captivating performance as the Pope’s chief advisor, now in charge of organizing the Conclave, Fiennes draws viewers deeply into the intricacies of the story. Like an awakened conscience in the Vatican’s religious world, Lawrence seeks impartially the election of the most suitable candidate. Throughout the film, it is revealed that Cardinal Lawrence, himself struggling with doubts, had previously submitted his resignation during the final years of the Pope’s life, but it was rejected. It seems the Pope knew Lawrence was destined to play his most crucial role in successfully navigating the Conclave and determining the next Pope.
As Lawrence gradually uncovers the hidden truths behind the events, viewers also become familiar with the cardinals’ personalities, forming alliances or oppositions with them. The arrival at the eleventh hour of a new, unknown cardinal carrying a legitimate endorsement letter from the Pope dramatically shifts the dynamics of the Conclave. This cardinal, speaking Spanish and claiming appointment by the Pope in Kabul, Afghanistan, slowly gathers support while voting himself for Lawrence despite his rejections.
Caught in the labyrinth of the cardinals’ political maneuvers, Cardinal Lawrence becomes bewildered and occasionally deceived, yet through his persistent quest for truth, never loses sight of his objective. Politically positioned neither left nor right but rather centrist, Lawrence senses the threat of the extreme right. Thus, at one point, he allies himself with the liberal Bellini to support the ambitious (but less dangerous) Tremblay against the extreme right-wing Tedesco, only to later discover Bellini has privately aligned himself with Tremblay for personal motives. Ultimately, the plot’s climax defies viewers’ expectations—not ending with the election of one of the cardinals as anticipated. Instead, it delivers an unexpected, stunning revelation. After the truth emerges, viewers see their own reactions reflected in Ralph Fiennes’ expression—thanks to his powerful performance—as if facing a mirror.
They must then decide whether to accept or reject a truth that is not exclusive to the small circle of the Vatican but rather a universal reality with which all societies must grapple.
In Conclave, the significant yet overlooked role of religious sisters is also thoughtfully portrayed—not merely as hidden operators managing the Vatican’s everyday affairs without official recognition or access to power, but as observant witnesses, privy to the smallest intrigues. Among them, Sister Agnes (Isabella Rossellini) plays a crucial role alongside Lawrence, decisively influencing the final outcome.
It would be impossible to discuss Conclave without highlighting aspects beyond its gripping story and well-crafted screenplay. Despite the inherent difficulty of vividly portraying events within an environment typically associated with monotonous routines—where clergy supposedly lead repetitive, uneventful lives—the film excels through stunning cinematography and meticulous set design. Each scene unfolds like a dreamlike painting, seamlessly connecting the narrative threads and elevating visual storytelling to its artistic zenith.
