The Real Housewives of St. Peter's: A Conclave Review

Edward Berger’s Conclave isn’t your typical Vatican drama. Forget sweeping shots of St. Peter’s Basilica or angels singing in Latin. The film, as a certain Fleabag character would put it, is about power, who has it, who wants it, and what happens when divine authority collides with human ambition. 

Set entirely within the claustrophobic confines of the Sistine Chapel. The film transforms the papal elections into a high-stakes chess match where every confession and lingering glance could change the future of the Roman Catholic Church. In essence, it’s House of Cards with cassocks, if Frank Underwood paused occasionally to pray.

From Conclave (2024)

Berger, fresh off his triumph with All Quiet on the Western Front, trades the cacophony of war for the whispered conspiracies of the College of Cardinals, crafting a narrative that is at once intimately human and cosmically significant.

At the centre of this ecclesiastical drama is Ralph Fiennes as Cardinal Lawrence, a man wrestling with his own doubts while navigating the complex process of electing a new Pope. Fiennes brings a quiet intensity to the role, conveying volumes through subtle expressions and measured silences. His performance anchors the film, providing a human focal point amidst the pageantry and politics of the papal conclave.

The ensemble around Fiennes is also nothing short of stellar, each actor bringing depth and nuance to what could have been mere caricatures in lesser hands. From Stanley Tucci as the charismatic Cardinal Bellini to John Lithgow as the enigmatic outsider John Brannox, the performers bring depth to their roles, creating a believable universe of competing ideologies and personal ambitions within the College of Cardinals.

Stéphane Fontaine’s pristine cinematography transforms the Vatican into an ornate dreamscape. His camera finds poetry in the details: the trembling flame of a votive candle, the worn leather of an ancient tome, and the play of light on a cardinal's ring. The red-robed cardinals move through pools of shadow and illumination as if guided by an invisible hand, their processions taking on the quality of a sacred dance. 

Edward Berger's direction is restrained, allowing the conclave's inherent drama to unfold without unnecessary embellishment. He paces the film deliberately, a trait that may test some viewers' patience.

Where Conclave truly distinguishes itself from other films focusing on the institutions of religion is in its willingness to engage with the complex issues facing the modern Church. The film doesn't shy away from topics like the abuse scandals, questions of reform, and the Church's role in a rapidly changing world. It approaches these subjects with nuance rather than resorting to easy moralizing or sensationalism. The film presents multiple perspectives on contentious issues, allowing viewers to grapple with the complexities rather than offering simplistic solutions.

The script, adapted from Robert Harris's novel and nominated for an Academy Award this year, attempts to balance the procedural aspects and theological questions of the conclave. Discussions of faith, doubt, and the nature of divine guidance are woven into the narrative, never feeling forced or didactic. Conclave takes both faith and scepticism seriously, inviting viewers to grapple with challenging questions regardless of their personal beliefs.

The film delights in the arcane yet suitably campy rituals and traditions of the conclave, inviting the audience into a world few have ever glimpsed. From the burning of ballots to the cry of "Extra omnes!" that seals the Sistine Chapel, Berger imbues these ancient customs with a sense of enigma and anxiety. Yet he never loses sight of the very human drama at the core of these ceremonies.

The film's production design, too, deserves special mention, recreating the cloistered world of the Vatican with painstaking attention to detail. From the sumptuous fabrics of the cardinals' robes to the ancient frescoes adorning the walls, every element contributes to a sense of timelessness. This visual richness serves as a constant reminder of the weight of history and tradition that bears down upon the conclave participants.

The film's denouement, featuring a twist as audacious as it is thought-provoking, forces us to confront our own preconceptions about power, gender, and the very nature of spiritual authority. 

The sudden twist feels tonally jarring after two hours of slow-burn political realism. Berger’s gamble risks undermining the story’s grounded approach, leaning into melodrama where nuance might have better served the narrative. 

The ending feels underbaked, perhaps working better if the film delved into some of its thoughtful implications for faith, with its theological implications feeling under-examined. While some viewers appreciate its daring provocation, others find it strains credibility, leaving character. The final moments, though visually striking, leave key philosophical questions dangling—a missed opportunity to deepen the film’s commentary on institutional reform.

Beyond the polarizing ending, Conclave falters in balancing its ensemble cast. Promising subplots—like the African cardinal’s critique of Eurocentrism are reduced to mere footnotes. These underdeveloped threads hint at a richer, more global perspective on the Church’s crises but never crystallise into meaningful commentary. 

Peculiarly, this year’s awards season seems to mirror Conclave’s themes of backroom manoeuvring and ideological clashes. In the last few weeks, the Best Picture race has become its own high-stakes papacy election. 

Just as the film’s cardinals jockey for power amid external crises, the Oscars have become a battleground where controversies—like Karla Sofía Gascón’s resurfaced tweets or Anora’s intimacy-coordinator debate—upend frontrunners, leaving films like The Brutalist and Emilia Pérez scrambling for votes. 

This year’s winners may hinge less on merit than on navigating the optics of scandal and the politics of representation—a real-world parallel to Conclave’s exploration of how institutions reconcile ideals with messy reality

In the end, as the white smoke rises and the bells of St. Peter's ring out, Conclave leaves us with more questions than answers—and that, perhaps, is its greatest strength and weakness. It doesn't just pull back the curtain on one of the world's most secretive processes; it dares to imagine a future where the very foundations of that process are transformed.

Edited by Adi Roy

Anish Paranjape (he/him) is a student of Political Science and the Associate Editor (Entertainment) at Political Pandora. His research interests encompass global politics and its influence on various landscapes, as well as an interest in film, television, and pop culture.

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