Recensioni degli utenti

This is a political thriller. With a bit of tweaking this sort of vaguely labyrinthine plotting goes on wherever there is a quest for power and control.

The main actors - Fiennes, Tucci, Lithgow, Rossellini and Msamati, deliver powerful performances, and the film is worth seeing for these alone.

The script is well written, although cliched in some parts, but does provide tension, momentum and intrigue.

The settings equally play their part and, given the scale, add gravitas and authenticity, not just a backdrop.

Having said all of that, and without giving away anything away, the ending felt added on, and didn't properly integrate with the rest of the film. Whilst the message was well intentioned, to an extent, it undermined the build up in the rest of the film - it felt simplistic and a la mode - unnecessarily. A pity, because if as much attention had been given to this part of the film as the rest, it would have been a better film.

So many reviews are blaming Hollywood and thinking this movie is somehow pointing fingers at Pope Francis. It isn't. It is a movie based on a book of the same name written by Robert Harris. The book was released in 2016, way before the pope got sick. It just so happens that the current events coincide with the recent release of the movie to stream on Prime. People's emotions are heightened because of the death of Pope Francis and are forgetting this is just a work of fiction. One review says the movie should have some respect as the pope has just died! Please remember the movie was first released in the Telluride Film Festival in August 2024!

And now...a film for adults.

Based on Robert Harris' 2016 novel, CONCLAVE takes the viewers inside the Vatican during the College of Cardinals' process of selecting the new Pope...filled with Political in-fighting, twists, turns and surprises galore.

And...if the average age of the folks in the Movie Theater I attended a showing is any indication..."Grown-Ups" are flocking to this film.

As Directed by Edward Berger (ALL QUIET ON THE WESTERN FRONT), CONCLAVE moves along sprightly, unraveling a mystery - not a "whodunnit" but rather a "who's gonna get it" - and it gets surprisingly tense.

This is thanks, in part, to the fine, fine actors that have been cast in this film. Ralph Fiennes (Voldemort in the HARRY POTTER films) anchors the events as the "Dean" of Cardinals who is tasked with leading the disparate group of Cardinals to a consensus pick of the next Pope. He acts as much as a Detective as a Facilitator as he battles his own conscious of faith...and ambition...all while uncovering schemes and plots of some of the "humble servants" vying for the top job.

Ably assisting is John Lithgow, Isabella Rosellini and quite a few others (mostly unknown) who battle for the "pole position" in the race to be the next Pope. Special notice should be made to GREAT Stanley Tucci for his supporting turn as one of the contenders who's platform seems to be "I don't want this" but who, underneath, really, really wants it.

Don't be surprised if both Fiennes and Tucci (as well as Director Berger) are mentioned come Oscar nomination time (they are that good).

As stated above, this film has twists and turns galore and it is a fun ride to roll with these turns, but if I am being honest, I felt that this film went "one twist too far" and should have/could have ended 10 minutes before it ended (without the one last twist). Now, some would say that this final twist is the point of the film, but...I would have been fine without that point being made.

You be the judge...and join other "adults" in the movie theater.

Letter Grade: A-

8 stars (out of 10) and you can take that to the Bank(ofMarquis)

Just come out of the cinema after watching Conclave, and I was impressed.

Unless we are (or have been) a Catholic Cardinal, we don't know what goes on behind closed doors after a Pope dies. Conclave gives us a convincing glimpse of the machinations and intrigue.

Fiennes is outstanding as the "Dean" - the one entrusted by the past Pope, to conduct the ancient procedure which selects a new one.

The close-up camera work is excellent. Long corridors, talking heads, facial looks, body movements, and even the sound of breathing do a lot of heavy lifting to create a tense yet controlled and subdued mood. Superb settings, sumptuous costumes. Good dialogue and interaction.

Conclave has a slow pace - but it's a mood piece so that's fine. We gradually go deeper and deeper into the process, but also into the minds of the senior clerics assembled. There is emotion and scandal.

Strong film 8/10. But Fiennes 10/10, and possibly an Oscar for best actor?

Director Edward Berger does a magnificent job taking us behind the doors of the Roman Catholic headquarters in the selection process of replacing a Pope that has passed away. I was wondering how the Filmmaker was going to make such a solemn gathering interesting. The answer is you add deception, ambition, and plenty of twists and turns to make this quite a religious thriller that's sure to surprise you. The cast is an amazing group of actors lead by Ralph Fiennes, Stanley Tucci, John Lithgow, and Isabella Rossellini to name a few. The music adds a great touch that just enhances all of the drama. This film is definitely a must watch I have watched it twice just to enjoy the performances.

Ralph Fiennes is a consummate performer. Since his big screen debut as Heathcliffe in Peter Kosminsky's 'Wuthering Heights' in 1992, Fiennes has electrified audiences. Bringing depth and nuance to every role- from serial killers to rat catchers- he never seems anything less than perfectly cast. That ability to subtly embody diverse characters with precision and authenticity makes him, arguably, one of the most versatile actors working today.

In Edward Berger's 'Conclave,' Fiennes stars as British Cardinal-Dean Thomas Lawrence, the leader of the College of Cardinals. After the Pope dies, it is up to Lawrence to organise a papal conclave, through which his successor will be chosen. Thrust into a complex web of secrecy while navigating the hidden agendas of those vying for the papacy, the weight of Lawrence's decisions will alter the future of the church, while testing his faith and moral compass.

Based on the novel of the same name by Robert Harris, 'Conclave' is an intriguing mystery thriller that is not without its flaws. Initially, the film offers one a compelling peek behind the velvet curtain into the Vatican's Machiavellian world, where gossip flows like wine and ambition reigns supreme. The dialogue is consistently strong and acerbic, and Peter Straughan's characterisation is deft. Characters are clearly delineated, each with their own personality, political inclination and, more often than not, dark secrets.

For the majority of its runtime, Berger's film is a triumph, cleverly exploring the intersection of universal themes such as faith, doubt and personal ambition. Faith is portrayed not just as a religious conviction, but as a guiding force that shapes the moral and ethical choices of the individuals involved. Personal ambition, on the other hand, is depicted as a double-edged sword that can drive one to greatness or lead to one's downfall, depending on how it is wielded. Doubt, meanwhile, is represented as a powerful force just as important as faith, challenging characters to question their beliefs and actions.

Through this intricate interplay of themes, Berger crafts a thought-provoking narrative resonating on both an intellectual and emotional level. Unfortunately, however, he doesn't stick the landing. The ending feels both rushed and cursory, offering very little closure. The tension and intrigue that has slowly built up over the course of the film comes to an abrupt halt, leaving several plot threads unresolved and proceedings feeling somewhat underwhelming.

Despite the finale not quite delivering on its promising setup, the film's engaging narrative makes it a worthwhile watch, as do its stellar visuals. It is a stunning looking picture, with opulent production design from Suzie Davies, emphasising the elaborate richness of the Vatican and its inhabitants. Silver crosses glint and glisten, while bloody reds and crisp whites contrast sharply. The sets and costume design are incredibly detailed and accurate; all captured masterfully by cinematographer Stéphane Fontaine.

Fontaine's cinematography plays a crucial role in supporting the film's narrative themes. His stark approach emphasizes the solemn, austere atmosphere of the Vatican, juxtaposing the grandeur of its architecture with the intimate moments of the characters' internal struggles. His use of light and shadow is particularly effective in highlighting the dualities within the film- faith versus doubt, ambition versus humility.

Furthermore, his keen eye for detail ensures that each frame is meticulously composed, with a crisp clarity heightening the film's heady atmosphere. The stark, almost minimalist visuals create a sense of foreboding and tension, mirroring the high-stakes environment of the conclave. This visual style not only enhances the storytelling but also deepens one's engagement with the film's exploration of power, morality and personal conviction.

In addition, Volker Bertelmann- who did such impactful work on Berger's previous 'All Quiet on The Western Front'- crafts a sublime score, both eerie and austere, compounding the themes within. Bertelmann's compositions mirror the film's emotional landscape, using haunting melodies and sparse instrumentation to evoke a sense of unease. Additionally, incidental sounds- namely breathing- seem to have been exaggerated, heightening the immediacy of the narrative and amplifying its tension.

However, while Fontaine's cinematography and Bertelmann's score are undeniably powerful, it is the performances, especially that of Ralph Fiennes, that truly elevate the film. Fiennes masterfully captures the internal struggles of a man caught between his duties to the church and his personal convictions. His presence on screen is commanding, yet he infuses the role with a quiet vulnerability, making Lawrence both relatable and compelling. Although Fiennes has never given a subpar performance in his life; his exceptional work in 'Conclave' is definitely a highlight.

Alongside him, Stanley Tucci impresses greatly as the liberal Cardinal Bellini, a decent man surrounded by gossiping cads. John Lithgow does typically fine work as the highly ambitious Cardinal Tremblay, while Brían F. O'Byrne is similarly impactful as Lawrence's right-hand man and opposition researcher Monsignor O'Malley.

Isabella Rossellini, meanwhile, elevates the comparatively small role of Sister Agnes, the cardinals' head caterer and housekeeper, into one of the most interesting in the film. In addition, Sergio Castellitto is superbly sinister as the far-right traditionalist Cardinal Tedesco, while Carlos Diehz and Lucian Msamati also shine as Cardinals Benitez and Adeyemi, respectfully.

In conclusion, Edward Berger's 'Conclave' is an entertaining, visually striking film exploring the complexities of faith, ambition and morality within the hallowed halls of the Vatican. Boasting strong performances from all in the cast- especially that of star Ralph Fiennes- as well as stunning production design and cinematography and a stirring score, it is gripping and thought-provoking. Despite the fact that the ending is something of a let-down, 'Conclave' is a papal pleasure.

If it's true that acting is intimately connected to the truth then, this is it. I mean Ralph Fiennes because every look, every gesture in his extraordinary performance speaks of that, truth, it confirms it. I followed him throughout Conclave and he never let me go. I was his one hundred per cent. The story, a thriller of major proportions is told with religious attention to detail. What a fantastic director Edward Berger is. Stanley Tucci, John Lithgow, Isabella Rossellini, Sergio Castellito, they all contribute to the truth that Ralph Fiennes establishes at first glance. The film flows at an incredible speed without us noticing it. So, a remarkable piece of work.

For starters without Ralph Fiennes the film would be far below average. Fiennes over his career is highly underrated in my view. He is fantastic in this role as he tries to conduct the election of the next pope. You can feel his character struggling to try to remain objective. At times he must decide when to make decisions to involve himself or cross lines in order to make sure that fair play in a sense is maintained.

I have delayed this review as I have taken time to ponder over the direction the filmmakers decided to take. In breaking it down my feelings towards it become less and less. While it is interesting while you are in the theatre you later realize that all you were watching was rumours and gossip about different cardinals. The movie is truly a one man show. You see no behind the scenes action or development of the other characters or candidates for the papacy.

The score and sound highly elevate what would otherwise be some very boring scenes.

Lastly the end just throws everything out the window. Most of the movie seems like what one might expect an election at the Vatican to go like, but the end is just terribly unrealistic and somewhat insulting to the rest of the film. It feels like Hollywood just couldn't help but insert itself and make a point where one was not needed.

Greetings again from the darkness. It feels like it's been a while since we had a good old fashioned serious-minded, tension-packed, "big" drama film featuring big movie stars. Well, that's exactly what director Edward Berger, fresh off his Oscar-winning ALL QUIET ON THE WESTERN FRONT (2022), serves up with his latest. Writer Peter Straughan (TINKER TAILOR SOLDIER SPY, 2011) has adapted the 2016 Robert Harris novel, and the result is a welcome crowd-pleaser that may garner some Oscar consideration.

Ralph Fiennes delivers what may be his best performance yet. And that's saying something for the much-respected actor who has previously excelled in such films as SCHINDLER'S LIST (1993), THE CONSTANT GARDNER (2005), IN BRUGES (2008), A BIGGER SPLASH (2018), and THE MENU (2022). His impressive career is only enhanced by this most recent role of Cardinal Lawrence, saddled with the heavy burden of facilitating the titular Conclave charged with electing the new Pope. As the film opens, the beloved Pope has just passed ... and as they say, "let the games begin". Of course, these games are all about political maneuverings and power struggles and backroom promises. Director Berger opts to show us very little of the actual negotiations, and instead puts the various iterations of loyalty on display during each successive secret (of course) vote.

Within the confined walls of Vatican City and the Sistine Chapel, Cardinal Lawrence's time is mostly spent investigating tips, scolding others for their behavior, and dealing with the immense egos of the few being considered (including himself). Stanley Tucci plays Cardinal Bellini, who pretends to not want the job while campaigning as the 'progressive' voice the church needs now. John Lithgow is Cardinal Tremblay, one of the most assertively ambitious who may or may not have purposefully undermined the work of another. Either way, Lucian Msmuati's Cardinal Adivemi is the victim of Tremblay's actions. Cardinal Tedesco, portrayed by Sergio Castellitto, is the most outspoken in his desire to return the church to the old ways (Latin masses forever!), what he sees as proper. Bryan F O'Byrne plays O'Malley, assistant to Lawrence, and yet, despite all of these men, it's Isabella Rossellini as Sister Agnes who manages to shoot (figurative) fire from her eyes, while maintaining her 'place' and significantly impacting the process. She is stunning and memorable in her limited role.

Early on, a big surprise arrives in the form of Cardinal Benitez (Carlos Diehz) of Kabul, who was the most recent appointee by the previous Pope, and unknown to the others. As a novel, this may be a real page-turner, and yet the movie never rushes from one moment to the next. Tension builds with each revelation and tarnished robe and secretive plot. Although the film barely skims the years-long sexual abuse scandal in the church, there is a stream of twists and turns that keep us on our toes as the Cardinals are sequestered. It's fascinating to see how cinematographer Stephane Fontaine keeps things visually interesting in an enclosed environment filled with characters who aren't allowed to go anywhere else. Another aspect I truly appreciated was the unusual musical score composed by Oscar winner Volker Bertelmann. This is the type of movie which often features overbearing music to 'enhance' tension, yet Bertelmann's notes are effective jabs at just the right times.

Power plays, corruption, and political stunts are all present as these Men of God bungle the process of picking their next leader. Importance of the mission and tradition pale in comparison to ego and self-interest. The symmetry to U. S. politics is unmistakable and surely a purposeful approach by Berger. The final twist may be a bit out of proverbial left field, but in a room filled with secrets, perhaps that's as it should be. To balance the tension and seriousness, anyone paying attention will appreciate the subtle humor, especially as it plays out as these relics muddle through modern day situations (technology, social progressiveness, terrorism). This is certainly not a film created for Catholics only, although for a brief moment, I worried we might have one that could be subtitled, "The Catholic Crying Game". Fortunately, it's one with a tension-filled story, terrific visual shots, a perfect score, and superb acting ... a fun movie to watch.

Opening in theaters on October 25, 2024.

The movie is 95% good, but the ending takes a lot of points off this one.

Starting with the acting: all the characters are really well played and I feel like Ralph Fiennes deserves at least a shot at the Oscars. Only thing that bothered me was some of the bad accent on the scenes where Italian is spoken.

The editing and the production design are the highlight of the movie and I hope the film wins Best Editing. Costume Design and Cinematography are also top notch.

The score adds so much to otherwise normal scenes and should be nominated to a bunch of awards.

With all this being said, the ending is so forced and out of place that it genuinely ruins the movie for me.

It seems like the productors of the film thought that it was too simple and it needed a great twist at the end so the movie could make the headlines.

While the twist isn't expected, it's also not necessary or relevant to the story at all. It's just a failed attempt to shock and bring awareness to a topic that was never there to begin with.

The Conclave is a great film that is sure to keep you on the edge of your seat and holding your breath. Edward Berger's vision is perfectly executed in just about every way possible. Ralph Fiennes delivers an Oscar worthy lead performance, as he is incredible as Cardinal Lawrence. When he gives his speech and says, "There is one sin which I have come to fear above all others: certainty. If there was only certainty and no doubt, there would be no mystery. And therefore, no need for faith..." Absolute chills. The screenplay and dialogue is intelligent and well crafted, but also elevated by superb acting throughout. Stanley Tucci, John Lithgow, Sergio Castellitto, and Isabella Rossellini were all excellent in their respective roles. This film should be up for several Oscars, including Best Picture, Best Director, Best Adapted Screenplay, Best Score, Actor in a Leading Role, Best Cinematography, and more. It's just that good. The score is perfect, as it perfectly captures each defining twist and turn as the drama unfolds. The storyline is captivating, pacing is solid, and the characters are all so interesting in their own ways. Go see it!

Conclave is a fine movie with excellent performances by all the actors involved. The ending of the film was telegraphed early on, so there was not so much of a surprise by the final selection of the next Pope. However, the final twist seemed unnecessary. There did not seem to be a sufficient build-up to it, that made it feel like a genuine twist, but was more of an add-on. Beyond that, the drama between all the main candidates was compelling, though I thought the conservative Italian was more of a caricature for them to use as a foil, rather than a standout on his own. There are some interesting visuals and uses of color that I did not expect. I'm sure this will be an Oscar contender, but I'm not sure it has the depth to actually win anything.

The movie is a very interesting look behind the scenes of choosing a new pope, delving deeply into all the pomp and circumstance. It plays out similar to a murder mystery, with all the potential "suspects" being eliminated from the choice. It should have ended with the white smoke pouring out while the crowds cheered and Cardinal Lawrence looked up to the sky... job well done. But no, they had to insert a completely irrelevant, fantastical twist for who knows why (Did M. Night Shyamalan stop by the set?). Go see for the great acting and imagery. Hopefully a Director's Cut will edit out that contrived twist. (p.s. Show the white smoke! That's what we were all waiting for.)

The acting was sensational as was the plot twists portraying the process of selecting a new pope with all its mystery.

The scenery and filming were beautiful with just a hint of actually how ostentatious the catholic church is and yet not overtly part of the production (as we have seen many times in film about the church).

The dialog at times was intense and complicated but appropriate moments were simple.

The ending was true to the book and while surprising, we were not hit over the head with details or explanations that went beyond what was necessary to make the information known yet did not use any language that would be "triggering to some.

All the whining about how Hollywood hates Catholics, the ending was a twist to far, unnecessary, sensationalism, and advancement of the liberal agenda are from people who obviously did not read the book or even care to investigate the films truthfulness to the book.

Director Edward Berger, known for his sharp storytelling, has delivered a cinematic gem with "Conclave," a film that transcends the boundaries of the typical thriller to delve deep into the heart of the Roman Catholic Church. Based on Robert Harris's novel, this adaptation is not merely a translation from page to screen but a reimagining that breathes new life into the already rich narrative.

Plot and Execution: The film follows Cardinal Thomas Lawrence, impeccably portrayed by Ralph Fiennes, as he navigates the labyrinthine politics of papal election within the Vatican's ancient walls. Berger meticulously crafts an atmosphere of suspense where every whispered conversation, every secretive glance, is charged with the gravity of the election's outcome. The plot unfolds with the precision of a Swiss watch, each tick and tock echoing the heartbeat of the Church itself.

Performances: Ralph Fiennes anchors the film with a performance that is both understated and powerful. His portrayal of Cardinal Lawrence is a study in restraint, where every subtle expression conveys the weight of his character's internal and external conflicts. Supporting him, John Lithgow as Cardinal Tremblay offers a masterclass in villainy, weaving charm with cunning so seamlessly that it's impossible not to be captivated by his machinations.

Themes and Symbolism: "Conclave" isn't just about the election of a Pope; it's a microcosm of power, tradition versus modernity, and the human condition. The film tackles these themes with a deft hand, never preaching but always prompting thought. The climax, with its revelation regarding Cardinal Benitez, serves not just as a plot twist but as a profound commentary on identity, acceptance, and the evolving face of global religion.

Cinematography and Score: The visual language of "Conclave" deserves special mention. The confined spaces of the Vatican are shot with a claustrophobic intimacy that mirrors the internal struggles of the characters. The score, haunting and evocative, enhances the sense of isolation and high stakes, complementing the imagery to create a nearly tactile experience of the conclave's tension.

Conclusion: "Conclave" is a tour de force of filmmaking. It's a film that entertains, provokes, and lingers in the mind long after the credits roll. Berger, along with his cast and crew, have not only adapted a book into a film but have elevated it into a critique on power, faith, and human nature. For those who appreciate films that challenge as much as they entertain, "Conclave" is a must-watch, deserving every bit of its 9 out of 10 stars. It's not just a film; it's an experience that invites you into the heart of one of the world's most secretive institutions and leaves you questioning, pondering, and ultimately, admiring the artistry on display.

Acting, intrigue, dialogue and cinematography are spot on throughout but the warning signs are there earlier in the movie. When the potential candidates talk about being a new liberal progressive church, it makes you wonder where else there going to go with it and boy do they go with it.

I let the odd tone shift go but the ending, which I won't spoil, that comes out of a different movie and causes the lead to go against everything they shoot for during the movie.

It seems like a slightly less expected political thriller over what is a big event in the world as and when it happens but then shifts like rollercoaster in the final scenes.

I just got back from the theater after seeing "Conclave," a film I was extremely excited for and liked a lot. For most of the movie I was so captivated by the gorgeous cinematography, fantastic performances, great score, and quality costume and production design, that I was convinced this must be a 10/10 movie. But then, unfortunately, the ending arrived.

I believe that the ending to a film is the most important part. What will you leave the audience with? What is your final statement to them? Well, in this movie, it's so contrived, confusing, and absurd that any final statement becomes muddled, and I left the theater with a bad taste in my mouth. The ending is so unrealistic that it threatens to destroy every frame of what came before. It is done purely to make a statement about the church and to shock the audience. Now, this doesn't ruin the movie as a whole (not to me, anyway), but it does unfortunately mar an otherwise superb film.

Disclaimer - I am Catholic and yes as many say and note, the finish is a genuine 24 karat surprise but I'm not revealing anything here but there are many stories to be told in the story that remain locked up in the labyrinth of the Vatican. About 80 of them. Fiennes and Tucchi of course are masters at the top of their game and it shows. The thrills and games keep coming. The production gorgeous. Latin alive in a conversation? OMG! My point is though that there are ~ 80 cardinals from everywhere on our planet, only a handful are the focus and the others are shall I say, a matter of background. I would have enjoyed some varied sideline conversations. The nuns/sisters of course are one and I happily accept that. But goodness, this calls for ordering the book.

It's more than a little frustrating when a film seemingly has all of the elements needed to make it work except the one that's most crucial, the one that enables a production to brilliantly succeed or doom it to failure - the story. Such is the case with director Edward Berger's latest, the much-anticipated, much-celebrated drama about the convening of a papal conclave to select a new pope. From a technical standpoint, the filmmaker has pulled together everything that should make this an epic picture - a gorgeous production design, stunning and inventive cinematography, and a stellar cast featuring superb performances by the likes of Ralph Fiennes, Stanley Tucci, John Lithgow and Isabella Rossellini, as well as fine turns by such lesser-known performers (at least to American audiences) as Lucian Msamati and Sergio Castellito. The picture also raises some insightful observations (though a little too infrequently for my tastes) about the current state of the Roman Catholic Church, particularly its foot-dragging on implementing reforms, the incessant high-profile scandals that have rocked the institution, and the rising tide of unflattering public perceptions among its increasingly skeptical practitioners, all of which weigh heavily on the College of Cardinals in determining who should be named as the new Holy Father. Unfortunately, though, the story and script leave a lot to be desired. For starters, much of the film's opening act moves by at a glacial pace, frequently causing one's eyelids to become more than a little heavy. As the picture moves into the meat of the story - the conclave itself - it waxes somewhat melodramatic, not unlike a glorified 1980s prime time TV soap opera. Its attempt to come across as an intrigue-laced thriller amounts to more than a succession of backstabbing segments in which the leading candidates to become the next pontiff are systematically eliminated through the revelation of skeletons in their respective closets. Finally, as the movie enters the stretch run, it throws in several twists and turns that either come completely out of left field (and somewhat implausibly at that) or that predictably materialize on cue thanks to the planting of patently obvious clues early on that were wholly impossible to ignore as the story plays out. Regrettably, these narrative foibles undermine all of the other fine attributes that this production has going for it, ultimately amounting to a case of being long on style but a little skimpy on substance, a shortcoming that also plagued Berger's last feature outing, "All Quiet on the Western Front" (2022). Unlike many others who have been so profoundly moved and thoroughly captivated by this release, perhaps my not having been born and raised Roman Catholic has somehow prevented me from fully appreciating the depth and magnitude accorded to this offering's contents. But, as someone who seeks to evaluate everything I screen on an equal footing, I can't help but observe that "Conclave" simply doesn't measure up when it comes to what it takes to make a genuine big screen epic.

Really was entertained and on edge of my seat for most of the movie. The twist at the ending IS something you wouldn't expect, but it just makes no sense. It was not satisfying and it did not relate to what was built up in the storyline whatsoever. If that was going to be the twist it should have made sense.

I really would not recommend this movie to anyone for that reason. It's a shame too because the build up is amazing. The actors in the roles they were assigned are also really well played. Ralph was in particular very good. The cinematography was also really well done. The sounds and music were incredible.

"Conclave" is one of those rare films that quietly draws you in and holds you there with every scene. It's rich with atmosphere, full of tension, and carried by performances that feel deeply honest and human - Ralph Fiennes, in particular, gives a performance that is both restrained and deeply moving. Every frame feels beautifully crafted, both visually and emotionally, creating a world that feels intimate yet grand. It's a film that doesn't shout for your attention but earns it with subtlety, intelligence, and heart. "Conclave" is a thoughtful, gripping experience that stays with you long after the credits roll, inviting reflection on faith, power, and the quiet moments that define us.

I seen many films this year but can't think of a role played with more gravitas than Ralph Fiennes in Conclave. His performance was utterly absorbing but so was everyone else's, no one over-acted but no one failed to deliver either, stunning cast all round. I would urge you all to see it. I'd say on reflection that the novel it was based on didn't over dramatise other than the bombs and nor did the film so it was utterly realistic but that too can make a film boring as most film goers love twists and turns and to be surprised. So what this film needed was brilliant acting to elevate it to the heights and I think it delivered and will certainly watch again. Ralph I hope will get the Oscar for his mesmerising ,utterly convincing and stirring performance in this film.