On November 7th, I attended the opening gala of the Cork International Film Festival in Cork’s iconic Everyman Theatre. This year marks the festival’s 69th iteration, and they delivered a fantastic program of new releases and iconic throwbacks. The festival opened with a screening of Conclave, from Edward Berger, director of the award-winning All Quiet On The Western Front. This gripping drama has already garnered critical acclaim and Oscar buzz worldwide and received an enthusiastic reception at the Everyman. There was so much laughter in the theatre during this screening, more than I ever would have expected at a religious drama such as this one, but that is what I found so enjoyable about the film Conclave, it is full of surprises.
Conclave follows Cardinal Lawrence, played by Ralph Fiennes, who has been tasked with leading the conclave in selecting the next Pope. As Cardinals from across the world assemble in Rome, Cardinal Lawrence starts to uncover secrets about his fellow men that threaten the future of the church. Alongside Ralph Fiennes, the film stars Stanley Tucci, John Lithgow, and Isabella Rossellini, among other familiar faces. Their sincere portrayals of the members of the Catholic Church took me pleasantly by surprise. Ralph Fiennes’s performance is particularly enjoyable to watch, as he creates such a sympathetic and complex character that it doesn’t feel like a character at all.
If you enjoyed the dramatic soundtrack that accompanied All Quiet On The Western Front, you will love the expertly crafted sound design and musical accompaniment in Conclave. Berger’s style lends itself beautifully to the big screen and the soundtrack has a heavy impact on the storytelling. The dynamic setting of Vatican City is beautifully captured, from the high ceilings of the Sistine Chapel to the small dark corners of the Papal Apartments. And although we are sequestered along with the cardinals in the Apostolic Palace, Berger creates a whole world within its walls.
Some people may take issue with elements of this story, and find it pandering, or unrealistic. While this film has intense and grievous moments, it is not a documentary. Conclave is as funny as it is serious, as quirky as it is normative, and as hopeful as it is critical. The story exists in a grey area between what we know and what we hope could be true. It does not praise the church, but it doesn’t outright ridicule it either. It is a wonderful exploration of religious devotion and the challenges that come with it. Sometimes it is not enough to simply have faith.
Conclave goes against everything I have come to expect from a religious drama. It is surprisingly funny and refreshingly modern in its criticisms of Catholicism, while also leaving room for optimism as we ask what kind of future the Catholic Church will have. Coming to cinemas across Ireland on November 29th, I would urge audiences to make the trip for this film, the experience is worth it.
