Speculation regarding the election of a new pope has long been a staple of Catholicism, but the recent surge in interest can be attributed to the film Conclave, a political thriller set for release in 2024. Following the demise of Pope Francis, this film illuminates the intricacies of the ancient papal selection process, albeit with a dramatic Hollywood flair full of intrigue and unexpected twists.
While critics exist, Conclave approaches the seriousness of a papal election with due reverence and accurately portrays many of the rituals and contemporary challenges the Catholic Church faces today. Vatican scholars, however, caution that not all depictions are entirely accurate.
The film effectively captures the atmosphere and ceremonies associated with a conclave. William Cavanaugh, a Catholic studies professor, notes that it successfully reproduces the aesthetics of the Vatican and underscores the critical discussions among cardinals before the formal conclave. Nevertheless, some inaccuracies do exist, such as discrepancies in the colours of the cardinals’ attire.
Massimo Faggioli, a historical theology professor, observes that the film aligns well with expectations of a swift conclave, reflecting historical trends where lengthy deliberations could indicate disunity within the Church. Revered Vatican expert Thomas Reese highlights that although the voting procedures are generally represented, the detail that ballots are burned only after each session — not after every vote — introduces a minor but significant error.
Moreover, the film ventures into potentially implausible territory with its portrayal of a cardinal from Afghanistan entering the conclave with secret confirmation from the deceased pope. This portrayal is deemed erroneous by experts, as a cardinal appointed "in pectore" would not automatically gain entrance to the conclave without public acknowledgment.
The narrative also features questionable depictions, such as a cardinal openly breaching the seal of confession, which would bear serious repercussions, including automatic excommunication. Additionally, notions of vote-buying are branded as far-fetched in the context of modern day conclaves, where cardinals typically engage in careful deliberation and maintain a cautious approach to their political affiliations.
Furthermore, the film’s characters are simplified into liberal or conservative archetypes, failing to reflect the nuanced positions most cardinals hold within the contemporary Church. According to Kurt Martens, a professor of canon law, such labels may distort insights into the cardinals’ collective motivations, particularly in divisions within the electorate during a conclave.
In conclusion, while Conclave draws viewers into the historical and ceremonial depth of a papal election, it also presents significant creative liberties that may misrepresent the actual processes and complexities of this pivotal religious event, prompting viewers to consider both its entertaining narrative and its factual basis.