Conclave (2024)

Direction: Edward Berger
Country: UK / USA

From Andrew Berger, the German director behind the multi-award-winning anti-war epic All Quiet on the Western Front (2022), Andrew Berger, comes the more subdued Conclave. This religion-themed thriller, penned by Peter Straughan and based on Robert Harris’ 2016 novel, delves into the shadowy world of Vatican politics. Ralph Fiennes takes the lead as Cardinal-Dean Thomas Lawrence, a man grappling with a personal crisis of faith while tasked with overseeing the papal conclave following the pope's sudden death.

As the slow and ritualistic process of selecting the new leader of the Catholic Church unfolds, Lawrence encounters a web of secrets, conspiracies, prejudice, and ambition. Among the candidates vying for the position, one figure stands out: Vincent Benitez (Carlos Diehz), a little-known Mexican archbishop stationed in Kabul, whose presence stirs unease and curiosity among the cardinals.

Cocooned in gravitas and profound doubt, Conclave thrives on the nuanced performances of its  seasoned cast. Fiennes, for example, not only chews the scenery but savors it, as he expresses deep concern about the future of the church with Stanley Tucci and Isabella Rossellini offering strong supporting turns. 

Although not particularly groundbreaking in its clash of modernity and tradition within the Church, the film at least never commits the deadliest sin in cinema: boredom, providing enough good material to keep its iniquitous fires burning. Yet, this gun-free thriller—effectively blending faith, tradition, and politics—could have been even more gripping if infused with more scandal, intrigue, and mystery. Ultimately, your enjoyment of Conclave may depend on your perspective on its themes.

Padre Pio (2023)

Direction: Abel Ferrara
Country: Italy / Germany

Padre Pio, a German-Italian production directed by the peculiar Abel Ferrara (Bad Lieutenant, 1992; The Funeral, 1996; Tommaso, 2019), is a joyless, graceless faith-related drama that straddles between esoteric turmoil and political activism. Over the course of this biopic, the focus scatters into many directions, the handheld camera makes you dizzy, and the excitement is limited. 

Despite obstacles, the darkness of the era (the story is set at the end of World War I) is well portrayed and Shia LaBeouf ’s performance is positive. The most striking parts of the movie are those in which Pio, who had arrived at a Capuchin monastery in the poor city of San Giovanni Rotondo, opens up with his God. Suffering tremendously with what he sees (greed and slavery are devouring the town) and with what he hears (some confessions are nauseatingly perverse), he is often attacked by the devil himself. Still, he refuses to abandon hope.

The fearless Ferrara tries to tackle this fascinating character but loses traction in a film that, asking the right questions, never finds dramatically persuasive answers. There’s not enough zest to the storytelling, which rather moves bluntly between demonic horror and somber spectacle. Choppy, unpolished and undeveloped, Padre Pio will certainly divide audiences.