Conclave

When encountering a film about the Roman Catholic Church, a modern audience might feel obliged to expect a story of political drama and corruption of the church surrounding the mysterious workings of the Vatican. Conclave, directed by Edward Berger and released in November 2024, is based on the 2016 novel by Robert Harris dealing precisely with these concepts. However, this film goes further by portraying the intricate traditions of the Catholic Church in an alluring manner and weaving in unexpected twists that add moral depth and a sense of uncertainty. Conclave has achieved large success, securing four awards including Best Film and Outstanding British Film in the recent 2025 British Academy Film Awards (BAFTA). It was also awarded the 2024 Golden Globe Award for Best Screenplay – Motion Picture. 

The main character Lawrence, played by the extraordinary Ralph Fiennes, is a British cardinal, one of many powerful leaders in the hierarchy of the Vatican – a sovereign city-state ruled by the pope. The film’s setting is one of its most compelling aspects: the Sistine Chapel and Vatican chambers are rendered with striking and colourful cinematography, from the grandeur of the frescoes to the giant white columns enclosing the chambers. Berger’s direction captures the claustrophobia of the conclave, where these cardinals are locked away from the outside world, both physically and metaphorically. The setting becomes a character in itself, emphasising the tension and the high stakes of every decision made within its walls. One of the scenes illustrates an almost heavenly light streaming through stained glass within the chapel – this symbolises the interplay of divine grace and human frailty throughout the conclave. Furthermore, the score is a blend of solemn choral music and tense orchestral undertones, which enhances the emotional weight of key moments. The silence is intensified as cardinals cast their ballots one by one, with names being read out loud every meeting and hushed conversations echo through the stairs of the chambers. 

These cardinals are locked away from the outside world, both physically and metaphorically

Conclave, Latin for a “room that can be locked,” represents the assembly of cardinals for the election of a new pope. The film opens with the sudden death of the previous pope, who might remind the audience of the current Pope Francis. Cardinal Lawrence is forced to gather the College of Cardinals as the new dean to initiate the conclave. He is associated with the American candidate Cardinal Bellini (Stanley Tucci), a central progressive figure who favours reforms within the church. Bellini seems reluctant to become elected pope but he strongly opposes the traditionalist candidate Cardinal Tedesco (Sergio Castellitto), a conservative Italian figure who not only wishes to bring back Latin masses but also holds an extreme stance against Islam. It is worth mentioning that are some caveats regarding a less complex characterisation and underdevelopment of certain cardinals, which could have been more consciously addressed. An important exception to this, however, is Sister Agnes (Isabella Rossellini). As the nun in charge of overseeing the cardinals’ accommodations during the conclave, she remains in the sidelines and barely speaks, but when she does, everyone listens – not to mention her great side-eye. In general, the costumes play a symbolic and dramatic role throughout the film. The scarlet garments worn by the cardinals are part of their official ecclesiastical attire, symbolising their willingness to shed blood for their faith and evokes the sacrifice of martyrs. It also heightens the stakes and tension of the conclave, visually contrasting against the neutral backgrounds of the Vatican. 

The film touches upon sensitive issues both within the Catholic Church and in society while depicting moral dilemmas – or crises of faith – that the characters continuously face. The conclave itself also has elements mirroring real-life elections in a society that drives controversy and political division. Nevertheless, there were some predictable moments and drastic twists that were placed too late into the film that may have undermined the dilemmas portrayed. What does it mean to lead with morality in a world so rife with ambition and corruption? How do personal agendas coexist with divine will? And how can an individual maintain hope in a system that shows such division in all aspects? At its core, Conclave seeks to ask unaddressed questions that apply to our daily lives.