バチカンのシスティーナ礼拝堂で行われる教皇選挙＜コンクラーベ＞の裏側を描くヒューマン・ミステリー。ローマ教皇が死去した。悲しみに暮れる暇もなくローレンス枢機卿は新教皇を決める教皇選挙を執り仕切るが、その渦中、バチカンを震撼させるある秘密を知る。
- rg94003日前Conclave is trying to be two things at once: a thriller with politicking, schemes, conspiracies, and examinations of ambition, as well as a movie that is offering up sociopolitical commentary through the lens of religion. Because it doesn't fully commit to one or the other, I think it ends up feeling underbaked in both areas. To start, the trailers make this movie out to be a taut political thriller with plenty of tension. In practice, that is not the case at all. It's a methodical movie that feels slow, especially in its first hour. The schemes, alliances, and downfalls all feel very rudimentary to be honest. The scandals are pretty much the first things you would think of, the way they are discovered is basic, and alliance forging is nonexistent. Papal Game of Thrones this is not. And maybe that's an unfair criticism because a lot of that is driven by marketing, but I feel like my issue isn't exactly the pace (slow burn) but moreso how simplistic this aspect of the movie actually is. Also, the movie has this habit of Lawrence discovering some "shocking" secret, but it cuts away before the viewer can learn what it is, only to have him then confront/tell someone about said secret. This is the exact opposite of "show, don't tell" and is why I feel like the unravelling of the secrets is also not particularly compelling. Instead of focusing on building up the complexities of the Conclave, the movie does a surface level exploration of sociopolitical commentary. There are mentions of the Catholic Church's history, of trying to be progressive, of the role of nuns and women, of the diversity of people belonging to the Church, of the tolerance of other religions. That all sounds great, and I would have loved to see a movie that really put these under the microscope from the perspective of the people behind the Church. The problem is that it all feels very underbaked and cursory. The movie doesn't try to grapple with these questions, instead using the scandals discussed above as its main levers of power. At one point, a character gets up and gives a cheesy, cliche-ridden speech that is maybe a minute long, and the movie wants us to believe that answers everything. Sociopolitical commentary is used as a prop, the type of thing that helps define who the "good" and "bad" guys are, but nothing more. At one point, it is literally only used as a plot mechanism even though the real world events and context would have significant ramifications. This is most easily reflected in the ending of the movie, which offers up some sort of attempt at a larger message but absolutely bungles it because no one in the actual movie has, at any other point in the movie, actually thought about the questions it raises. It's simply something that is circumstance, and it happens, and the movie ends. Where the movie does succeed are the technicals as well as the character work of Lawrence and Bellini. The movie has the type of thunderous score that constantly asserts its presence that Edward Berger became famous for in his All Quiet on the Western Front adaptation. The setting is stately and lush, creating an operatic atmosphere. The acting of Ralph Fiennes in particular is excellent. I also did really like how the movie focused on his religious doubts, discussed the humanity of people trying to be perfect and idealistic and the realistic compromises that come with it, and the questioning if these characters were motivated by trying to do the right thing or just ambition. This is easily where the movie is the strongest, and I feel like had it sharpened one of the other two elements I mentioned earlier, it would have paired really well with this character focus. Unfortunately, it does not, and I ended up leaving feeling disappointed.
- Varun2024年12月22日I am an absolute sucker for movies that involve faith and politics and this one is a banger! The power games are very interesting to watch unfold, and they aren’t just detached events but they go hand in hand with the characters’ own development, mainly Lawrence who is played superbly by Ralph Fiennes. His performance perfectly captures each moment of trepidation and the slow hike to moral fortitude. I really loved some of the speeches too, it definitely makes you confront your own faith and what behaviours it invokes in you. The weak point of the movie is that a few events felt a bit improbable and manufactured to take the plot in a different direction, it didn’t feel fully earned and organic but I still don’t think it detracts from the overarching story. And I have to give huge props to the crucial score, it absolutely delivers in enhancing the tension, conundrums and conspiratorial vibes. The cinematography is also great, with some really good framing and even the blander colour palettes of the vestments and environments have a nice contrast that shines through. A lot of the twists and revelations were fantastic and I was thrilled with every second of this movie.
- alexamaematias2026年4月8日Nice film Just sharing Die to Sins, Live for Righteousness (2:24b) Jesus took up his cross and died in order to give life. For us, taking up our cross consists of dying to our old selfish, sinful way of life and then following Jesus wherever he leads us, in Peter's words: "that we might die to sins and live for righteousness" (2:24). From:Jesus Walk Meaning we are not nmrighteous but sinner,only through Christ righteousness we can go to Heaven..
- CrossCutCritic2025年5月1日Power, Secrecy, and the God Who Doesn’t Wait for Perfect Men --- There is something both ancient and absurd about watching grown men in red robes pace through marble corridors, whispering about salvation and strategy in the same breath. Conclave knows this. It doesn’t try to fix the contradiction. It invites you into it. What it doesn’t quite know — or perhaps dares not say — is that while these men talk about God, God is already moving among them. Quietly. Reluctantly. And, as always, unexpectedly. --- The plot is tight: The pope is dead. The world waits. The cardinals gather. And as the smoke rises and secrets surface, the weight of eternity hangs over men who, despite the liturgy and Latin, seem mostly like… us. Tired. Proud. Wounded. Protective of their legacies. At the center stands Ralph Fiennes’s Cardinal Thomas Lawrence — a man caught between obedience and truth, between the institution he serves and the God he fears might not be impressed by the rituals performed in His name. --- The film plays its archetypes broadly: The liberals are open-hearted and humane. The conservatives are cloaked in menace and shadow. It’s not new. It’s not subtle. And to be honest, it’s a little tired. But something more interesting happens when you stop measuring which side wins. You start to notice who breaks. Not politically. Spiritually. --- Because here’s what Conclave quietly understands — perhaps even in spite of itself: > God is not waiting for the right ideology. He is waiting for the moment a man realizes he can no longer lie to himself. That moment — and it does come — is the film’s real climax. It doesn’t happen at the altar. It doesn’t involve a vote. It happens in a private room, behind closed doors, when one man risks everything not to win, but to be clean. To be faithful. To stand naked before God and say: I didn’t protect my career. I protected the truth. That is the shape of the cross. Hidden. Costly. And unbearably honest. --- Conclave is a drama of whispered alliances, shifting loyalties, and papal chess. But beneath the intrigue lies something older than the Church and more disruptive than politics: A God who still chooses the weak. Who still confounds the wise. Who still enters locked rooms, not to endorse anyone’s strategy, but to breathe on their wounds and say, Peace. --- If you’re waiting for a movie to restore your faith in the Church, this isn’t it. But if you’ve ever wondered whether God still shows up in broken places, among imperfect men, and calls them — still — to speak truth at great cost? Then maybe Conclave is closer to resurrection than it wants to admit. *** If Conclave moved you, here are more reviews that explore conscience, grace, and hidden courage: Small Things Like These — Quiet obedience in the face of institutional silence. The Tree of Life — A symphonic meditation on suffering, beauty, and the voice of God. Greyhound — A wartime psalm of prayer, command, and mercy on the sea. WarGames — A teen thriller turned parable of restraint, logic, and second chances. Kapo — A lost girl, a death camp, and the God who hunts His children through hell to bring them home. Or if you're open to stories where the cross cuts deeper: The Gorge — Love with shrapnel still lodged in the soul. The Safety of Objects — Domestic life unraveling into lament and quiet epiphany. Brave the Dark — One boy. One teacher. One rescue, paid for in scars. All under Crosscutcritic in Plex.
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教皇選挙は2024年10月25日に公開されました。
教皇選挙はEdward Bergerが監督を務めました。
教皇選挙の上映時間は2hです。
教皇選挙はTessa Ross, Alice Dawson, Juliette Howell, Michael Jackman, Robert Harrisがプロデューサーを務めました。
バチカンのシスティーナ礼拝堂で行われる教皇選挙＜コンクラーベ＞の裏側を描くヒューマン・ミステリー。ローマ教皇が死去した。悲しみに暮れる暇もなくローレンス枢機卿は新教皇を決める教皇選挙を執り仕切るが、その渦中、バチカンを震撼させるある秘密を知る。
教皇選挙の主要人物はLawrence (Ralph Fiennes), Bellini (Stanley Tucci), Tremblay (John Lithgow)です。
教皇選挙はGと評価されています。
教皇選挙はスリラー, ドラマ, 謎映画です。
教皇選挙は、視聴者によって10点満点中8.6点をつけられています。
教皇選挙の予算は$2000万です。
教皇選挙の興行収入は$1.2億です。