Shadows on the Wall

Conclave

dir Edward Berger
scr Peter Straughan
prd Tessa Ross, Alice Dawson, Juliette Howell, Michael Jackman, Robert Harris
with Ralph Fiennes, Stanley Tucci, John Lithgow, Isabella Rossellini, Sergio Castellitto, Carlos Diehz, Jacek Koman, Brian F O'Byrne, Lucian Msamati, Thomas Loibl, Rony Kramer, Valerio Da Silva
release US 25.Oct.24,
UK 15.Nov.24
24/UK 2h00

TORONTO FILM FEST

Is it streaming?

Bracingly well shot and edited, this papal drama plays out with an undercurrent of wry humour and riveting spy-thriller vibes. Director Edward Berger and writer Peter Straughan expertly play with layers of narrative while a solid cast brings textured characters to vivid life. It may be set out as a look into the workings of the Catholic Church, but it's also a clever exploration of the perils of certainty.

After the Pope dies, Cardinal Lawrence (Fiennes) is tasked with managing his fellow cardinals in the conclave, navigating tension between progressive candidates like his friend Bellini (Tucci) and more narrow-minded conservatives like Tedesco (Castellitto) and Adeyemi (Msamati). And then there's Tremblay (Lithgow), who had a mysterious meeting with the Pope just before he died. Or soft-spoken Mexican cardinal Benitez (Diehz) from Kabul. As questions arise and contenders emerge, Lawrence begins digging into rumours, all while worried that he's getting votes himself. And no one notices that Sister Agnes (Rossellini) is carefully observing all of this.

Gorgeously shot by Stephane Fontaine, the film features stunning settings with a limited range of colours, accenting each scene with bright red flourishes. And Berger's direction continually catches tiny details that offer insight into the underlying thoughts and feelings of characters who are almost breathtakingly complex. Indeed, the central theme here is the importance of living with doubt and nuance, embracing the great mystery of life.

Each performance bristles with a sense of personal history, as these people bring their experiences to bear on the unfolding situation. With the central perspective, Fiennes makes Lawrence inscrutable as he grapples with his self-image, refusing to see himself as a potential Pope until the world begins to shift. His camaraderie with the skilfully internalised Tucci is wonderful to watch. And Lithgow, Castellitto and especially Diehz are terrific as cardinals who stand out from the pack. But it's Rossellini who steals the show with her nearly wordless role.

If the overall plot feels a bit predictable, there are some huge surprises along the way. And while some bigger story threads, such as a shocking jolt at a key moment, feel undercooked, they are filmed with such artistry that they have a properly powerful wallop. Meanwhile, the script takes a knowing and vitally important swipe at the organised church, contrasting this against the truth that gets lost in institutional power plays. This allows the film to resonate in ways that transcend religion entirely.

themes, language 11.Oct.24

R E A D E R R E V I E W S

Still waiting for your comments ... don't be shy.