by John Alexander
PROSPECT HEIGHTS — Following the passing of Pope Francis, interest in the 2024 film Conclave has soared, with a reported viewership spike of over 250% in the 24 hours after his death, according to data analytics firm Luminate.
The critically acclaimed movie, based on Robert Harris’ 2016 novel of the same name, dramatizes the process of selecting a new pope after a fictional pontiff dies of a heart attack. While the story is fictional, it is rooted in the real and ancient traditions of the Church. The election process of a new pope via conclave dates back to 1061, with its most enduring rules established by Pope Gregory X in 1274—first applied after his death in 1276. Many of those foundational principles remain in use today.
Conclave accurately depicts elements of this sacred process, including the sequestering of cardinals and the rules restricting communications and even meals after several days of deliberation. However, the movie takes creative liberties. One of the most notable differences is the language spoken by the cardinals—in the film, they speak English, whereas Latin is the official language for all conclave proceedings.
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The exact details of what takes place within a conclave remain highly secretive. Only the cardinals and select staff know what occurs behind the closed doors of the Sistine Chapel, where the proceedings are held. Secrecy is not just expected—it is required.
Earlier this year, Conclave received eight Academy Award nominations, winning the Oscar for Best Adapted Screenplay. Among its other nominations were Best Picture and Best Leading Actor for Ralph Fiennes, who portrays Cardinal Thomas Lawrence, the fictional Dean of the College of Cardinals tasked with overseeing the election.
Fiennes, in interviews, emphasized his desire to portray the Church’s rituals respectfully and accurately. The film crew went to great lengths to construct a precise replica of the Sistine Chapel on a soundstage, recreating its architecture, including Michelangelo’s iconic ceiling. The cardinal vestments were based on actual Catholic garments, though with creative changes—like a deeper red and a heavier wool than what is currently used. Some experts, including Jesuit priest Father Thomas J. Reese, noted inaccuracies in the layout and color choices of the chapel’s interior.
The plot of the film centers on tensions among the Church’s highest-ranking officials as they debate between four leading candidates: progressive U.S. Cardinal Aldo Bellini (Stanley Tucci), conservative Canadian Cardinal Joseph Tremblay (John Lithgow), traditionalist Italian Cardinal Goffredo Tedesco (Sergio Castellitto), and socially conservative Nigerian Cardinal Joshua Adeyemi (Lucian Msamati).
The intrigue escalates when Archbishop Janusz Woźniak informs Cardinal Lawrence that the deceased pope had requested Cardinal Tremblay’s resignation—something Tremblay denies. At the same time, Cardinal Bellini seeks to block Cardinal Tedesco’s path to the papacy.
The story intensifies with the surprise arrival of Cardinal Vincent Benitez from Kabul—secretly appointed as a cardinal in pectore (without public announcement) a year before the pope’s death. In reality, however, a cardinal in pectore cannot vote unless their appointment is made public prior to the pope’s death, making this a significant fictional stretch.
As secrets are unveiled—including a subplot involving a nun, Sister Shanumi, and her past relationship with Cardinal Adeyemi—the conclave becomes increasingly dramatic. In one climactic moment, Cardinal Tedesco calls for war on Islam following a fictional explosion, while Cardinal Benitez emerges as a voice of peace. Ultimately, Benitez is elected pope after securing the required two-thirds majority on the seventh ballot, taking the name Pope Innocent.
Father Robert Lauder, a longtime professor of philosophy at St. John’s University, praised the acting but expressed discomfort with the film’s conclusion. “Ralph Fiennes is a great actor, and the film was well made,” he said. “But after all the suspense over who would be chosen as pope, they pick someone whose sexual identity seemed intentionally vague. I wasn’t sure what point the filmmakers were trying to make. It felt unnecessarily critical of the Church.”
While the cardinals’ lack of outside communication in the film reflects the real conclave protocol, other dramatized elements—such as the boisterous and disorganized demeanor inside the Sistine Chapel—are widely viewed as inaccurate. The real proceedings are known for their solemnity and prayerful discernment.
In the end, Conclave is not a documentary but a fictional drama that blends fact with speculation and imagination. Despite its flaws, it offers a gripping and visually striking look into a process that remains one of the most sacred and mysterious in the Catholic Church.