The release of Conclave mere weeks before the U.S. presidential election is no accident. This is a movie about the high-stakes, contentious selection process of a new leader at a time of widening political division. The drama of Conclave includes candidates, campaigning, endorsements, ballot boxes, a “college” of electors, secret conversations in dimly lit halls of power, and even jarring attempts to undermine the democratic process. Sure, Conclave isn’t about selecting a new president; it’s about selecting a new pope. But the parallels are obvious and intentional.

Directed by Edward Berger and adapted from the 2016 novel by Robert Harris, Conclave seems to suggest the contemporary Roman Catholic Church is just as corrupt and broken as American democracy, and just as driven by the egos of overconfident men and their appetites for power. While it makes some fair points, in the end Conclave’s potency is compromised by its inability to conceal clear bias in a certain direction.

Electoral Parallels

I enjoyed Berger’s last film, 2022’s Oscar-winning All Quiet on the Western Front. But that film was heavy-handed in forcing its point in unsubtle ways. Unfortunately, the same tendency bogs down Conclave.

The fictional film follows a papal conclave that happens in the wake of a beloved pope’s death. Most of the drama takes place within the Vatican’s walls as the College of Cardinals gathers to elect a new bishop of Rome. The cardinals spend several days going through multiple secret ballot votes until a candidate wins at least a two-thirds majority of votes. All of it is totally hidden from the public and the press, save the black or white smoke that emanates from the Sistine Chapel’s chimney, indicating a failed vote or successful election of a new pope.

Sure, Conclave isn’t about selecting a new president; it’s about selecting a new pope. But the parallels are obvious and intentional.

Much of this is interesting to watch, even as a Protestant believer who finds the papacy and the Roman Catholic idea of apostolic succession unbiblical. The film’s inside look at such a secretive but long-held tradition is Conclave’s greatest strength.

A troupe of excellent actors enhances the drama’s prestige: The excellent Ralph Fiennes plays Cardinal Thomas Lawrence, who presides over the conclave and allies with liberal cardinals like Cardinal Bellini (Stanley Tucci). Both are contenders to be the next pope, as are Cardinal Tremblay (John Lithgow) and Cardinal Adeyemi (Lucian Msamati). The film is at its best when it subtly observes these men’s characters and allows the audience to discern their integrity (or lack thereof), particularly whether they’re more defined by humility or ambition.

Many times, though, the film oversells its political parallels. One character says, “I feel like I’m at some American political convention.” Another makes a comment obviously directed straight at the American viewer in 2024: “Is this what we’re reduced to, voting for the least-worst option?”

The conclave’s primary factions fall roughly along a progressive/conservative split that mirrors American politics. To be sure, there is a divide in the Catholic Church between those who prioritize conserving tradition and those who seek an updated, more inclusive church. But in Conclave, this split doesn’t concern theology as much as it does the issues driving American politics.

One giveaway is the character Cardinal Tedesco (Sergio Castellitto), the Trump-esque conservative candidate campaigning on a platform of traditionalism and nationalism (essentially “Make the papacy Italian again!”). He has an ostentatious swagger about him and doesn’t mince words as he critiques the previous pope and decries encroaching liberalism. When incidents of Islamist terror happen outside the Vatican walls over the course of the conclave, Tedesco uses the opportunity to ratchet up the us-versus-them rhetoric his liberal opponents despise.

The liberal cardinals respond to Tedesco in the way American progressives respond to Trump. They say things like “We liberals have to unite against him!” and “It’s a war!” They argue a Tedesco victory would undo decades of progress and send Rome back to the dark ages.

Watching Conclave, it’s hard to imagine actual cardinals talking about one another in these ways, demonizing “the other side” with brazen partisan rhetoric. But this film doesn’t attempt to accurately reflect the Catholic Church’s reality as much as to land points about the type of Christianity it doesn’t like (traditional/conservative) and the type it hopes will prevail (progressive).