Conclave (Reino Unido e EUA, 2024)
Original title: Conclave
Director: Edward Berger
Writer/Screenplay: Peter Straughan, based on a book by Robert Harris
Main cast: Ralph Fiennes, Stanley Tucci, John Lithgow, Lucian Msamati, Jacek Koman, Isabella Rossellini and Carlos Diehz
Runtime: 120 minutes (2°)
It's strange to think of Conclave as a thriller, since in recent years most films that portray some kind of Church have been more about propaganda than any kind of criticism. But Edward Berger manages to create a remarkable political thriller from an unusual situation, which is the internal vote of cardinals of the Catholic Church for the election of a new Pope.
As the director commented in the session, one of the first elements that stands out is the access they had to create and replicate a situation that, in reality, no one outside of that select group of cardinals has access to. In the process of imagining situations and places, there’s an impressive realism in relation to what’s in the collective imagination of the process. The use of shots that show some of the most iconic things in the process, such as the release of smoke, the ringing of bells or even the moment of sealing the buildings, help anyone to enter the atmosphere of confinement necessary to feel the pressure of the film.
For most of the film, there’s tension between three candidates for the papacy who represent different approaches to the Church: Bellini (Stanley Tucci) is the most progressive, who understands that religion needs to change in line with the modernity of the world and that certain doctrines only alienate people who would be faithful; on the other hand, Tremblay (John Lithgow), is a representation of a tradition that wants to maintain all exclusionary rites and doctrines out of respect for tradition; the third point of view presented is of Adeyemi (Lucian Msamati), who would represent progress, because he is from the African continent - which would be a first for Catholics -, but who has even more conservative values. The main discussion of the film revolves around the meaning of the divine in the lives of these people and the need for renewal of an ancient institution.
The events are worthy of any good political thriller, with sabotage, tight votes and people in crisis with their faith, and even with their own personality, when they find themselves in this position of dispute. These are dramas that could easily fall into a cliché, but they don't for two reasons: the first is the absolute quality of all the actors involved, who manage to convey the humanity behind each of these almost divine men. Even Isabella Rossellini's small appearance as Sister Agnes is fortuitous and recalls the great tradition of Italian cinema, the country where the film is set and where it was mostly filmed, partly in the Cinecittá studios.
The second element that helps create a great film is the impeccable photography by Stéphane Fontaine. With light designs that seem to convey a message from the divine to the human and meticulously thought-out shots to reflect the characters' inner selves and even a divine voice, the film takes on an even more spectacular air due to the fact that it’s beautifully staged on screen.
It certainly won't go unnoticed during awards season, and will shock many conservatives who will go to the movies expecting something very different from what they will get - thank goodness for cinema. Even though it takes a while to get its message across, the film reaches a moving narrative peak even for the least religious of people.
Translation: Renata Torres
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