Conclave was underwhelming, just like men of faith in positions of power
The film is undeniably good, but it doesn’t quite live up to the lofty expectations set by its trailer. On its own, it’s a strong contender for one of the best movies of the year, yet the promise of something so shockingly good did not materialize. The score, a masterpiece of tension-building, captures the insidiousness within the Church. However, its inconsistent use leaves you wanting more.
Visually, the film is a triumph with the intensity of its colors, cinematography, and shots. The visuals and atmosphere are perhaps the film’s greatest strength, keeping you captivated even when the narrative weakens.
The depiction of liberalism within the Church can still be surprising to some, especially the presence of an entire faction of progressive cardinals. This is despite real life current pope Pope Francis’ own liberal stances given the long history of the Church’s rigidity. However, the stark disparity in gender roles was frustratingly predictable. The nuns, relegated to housekeeping while the cardinals made the decisions, felt like a bitter reminder of the Church’s systemic sexism and anti-women views.
Unsurprisingly, the film critiques the hypocrisy of men in faith wielding unchecked power. Watching cardinals engage in pettiness and ego-driven battles strips away their divine veneer, revealing their flawed humanity. Cardinal Benitez’s poignant statement about the Church’s understanding of war — criticizing their lack of experience in real-world suffering like Baghdad or Kabul — further highlights this disconnect. It raises an important question: should the Church focus on worldly struggles or spiritual ideals? And if it’s to remain relevant, how does it strike the delicate balance between being “in the world” but not “of the world”?
The film culminates with a bold, almost anthem-like statement about adapting to modernity. Cardinal Benitez’s reveal (no spoilers here) encapsulates this challenge: the Church must evolve or risk irrelevance in a rapidly changing world. The tension between adhering to eternal spiritual truths and adapting to contemporary realities lies at the heart of the film’s message.
Where the film falters is in its character arcs. Cardinal Bellini, the liberal front-runner for pope, starts strong but fades into irrelevance. Played by Stanley Tucci, an actor known for commanding performances, Bellini’s arc lacked depth. His initial reluctance to seek the papacy, followed by his quiet ambition and eventual concessions, could have been explored more richly. Likewise, Cardinal Lawrence, portrayed by Ralph Fiennes, felt underwhelming. His transformation hinted at something sinister, but his story concluded without the expected payoff.
On the other hand, the supporting cast shines. Cardinals Adeyemi, Benitez, Tremblay, and Tedesco deliver compelling performances that carry much of the film’s emotional weight. The ambiguity surrounding the Holy Father’s role in the narrative was frustrating. Was he a master manipulator, orchestrating events to ensure Benitez’s rise, or merely a passive participant in a chaotic system? The film raises these questions without offering definitive answers.
Ultimately, the film is a fascinating exploration of faith, power, and hypocrisy, with moments of brilliance that are dampened by underwhelming resolutions and uneven storytelling. It’s an intense, visually stunning experience that leaves much to ponder — but it falls short of the greatness it seemed poised to achieve.
