Intrigue surrounding a conclave to elect a new pope is a time-honored tradition, steeped in secrecy and ceremony. Recently, this anticipation has been amplified by Hollywood’s portrayal in the film “Conclave,” a suspenseful 2024 political thriller. The movie has captured the imagination of many, introducing audiences to the ancient and mysterious papal selection process. Yet, Vatican experts have noted that while the film respects the gravity of the election and encompasses some real issues facing the Catholic Church, it also blends reality with creative liberties that don’t fully align with historical accuracies.
The movie is particularly praised for its depiction of the conclave’s visual elements. William Cavanaugh, a Catholic studies professor at DePaul University, noted the film’s efforts to accurately capture the Vatican’s environment. The intense preconclave discussions among cardinals are effectively highlighted, revealing much of the behind-the-scenes drama. However, Rev. Thomas Reese, a senior analyst with the Religion News Service, pointed out minor inaccuracies such as the color of the cardinal garments, preferring the cinematic depictions over reality’s lesser vibrancy.
From a procedural perspective, the film aligns well with the contemporary expectation of quick papal elections as noted by Massimo Faggioli, a historical theology professor at Villanova University. Long conclaves are rare and often seen as signs of a fragmented church, which recent history seems to support. However, Reese identified a key discrepancy concerning the voting process in the film; in reality, ballots are not burned after each vote but rather after each session of voting.
Among the greater creative liberties taken, the presence of an “in pectore” cardinal participating in the conclave raised eyebrows among experts, diverging from factual practice. Such a cardinal, who is appointed secretly, cannot partake in a conclave unless formally recognized before the College of Cardinals. Reese emphasized that this aspect was inaccurately portrayed. Cavanaugh concurred, yet noted the storyline underlines a poignant truth: prior votes cast by cardinals often lack full knowledge of the pope candidate’s future actions and approaches.
The movie ventures further into implausibilities with plotlines involving betrayal of the confessional seal and vote-buying for papal selection—actions that are not reflective of modern practices within the church and, indeed, would have serious consequences were they to occur. The portrayal of cardinals as being readily categorized into liberal or conservative camps is another over-exaggeration. Kurt Martens, a professor of canon law, argues these labels oversimplify the complexities of clerical opinions and behaviors, which tend to be conservative by secular equivalents. Even within a broad conclave, the requisite two-thirds majority ensures that no extreme positions would earn sufficient backing.
While “Conclave” captivates and informs its audience on a significant religious ritual, it also embellishes the reality to create dramatic tension. Yet, it ultimately offers a glance into a venerable process shaped by tradition, faith, and occasionally, human unpredictability.