CNA Staff, Apr 25, 2025 / 10:45 am
“Conclave” was a surprise hit upon its theatrical release last October. And following the April 21 death of Pope Francis, the film, now on streaming platforms, has attracted a new wave of interest from viewers, with streaming rates of the film reportedly tripling in the days since the pope’s death was announced.
Directed by Edward Berger and based on a 2016 novel, the film is a character-driven story focusing on several of the Church’s cardinals as they elect a new pope — with plenty of political jockeying and intrigue, ideological clashes, and dramatic turns throughout. The film garnered eight Academy Award nominations this spring, winning one for Best Adapted Screenplay.
Even before its release, “Conclave” garnered heavy criticism from Catholics who decried the film’s twist ending — which, spoiler alert, sees a biological woman inadvertently elected pope — as well as the film’s depiction of the various ideologies of the cardinals, especially the obvious lionization of characters who espouse views contrary to the Church’s teaching.
Beyond those criticisms, anyone using the film to educate themselves on how the actual conclave process will work in the coming weeks will find that the film contains a couple of key inaccuracies — but not everything in the film is fiction.
Here’s a (non-exhaustive) look at what “Conclave” gets wrong — and gets right — about the process of electing a new pope.
FICTION: Cardinal caricatures; spiritual wasteland
One of the most widely-cited “inaccuracies” of the film, at least according to prominent Catholics, is its depiction of the College of Cardinals as deeply divided among ideological factions and the papacy as a highly political rather than a spiritual office.
The film paints an inaccurate picture of the Church’s cardinals as cliquey, petty, ambitious, and “drably ideological,” said Matthew Bunson, a Church expert and editorial director for EWTN News (CNA’s parent company).
“The banter among the cardinals is banal. It’s uninteresting, it’s political, it’s drably ideological on both sides. Every one of the major characters, unfortunately — despite the brilliance of the actors themselves — is uninteresting, incurious, and lacks a serious theological or philosophical spiritual depth,” Bunson told CNA.
“They are cartoon characters of what cardinals — and I know many — actually talk about, and the types of issues they’re likely to discuss in a conclave,” he said.
Over the course of the movie, the cardinals split into factions to try to get their “man” elected pope, with one coalition led by Stanley Tucci’s progressive-minded Cardinal Bellini seeking to reform the Church by rejecting many of the Church’s orthodox teachings; while the brash, rude, and openly racist Cardinal Tedesco (Sergio Castellitto) advocates, ultimately unsuccessfully, for more traditionalist views.
Sparks fly onscreen as the factions clash with each other, skeletons tumble from closets, and the cardinals scheme to try to “win” the papacy for their ideological side. Any characters appearing to stand for an orthodox view of the Church’s teaching, Bunson noted, are “pushed out of the way” or outright “destroyed” within the narrative — such as a morally stern Nigerian cardinal who loses any hope he had for the papacy after it is revealed he hypocritically fathered a secret child.
Though a casual observer might be drawn in by the ideological clashes depicted on screen, Bunson said the film suffers from a “lack of intellectual and spiritual dimensions to almost any one of the characters.” Even Ralph Fiennes’ central character, Cardinal Lawrence, “stands down morally on multiple fronts” throughout the film, he said.
Characters invoke God’s name many times throughout the film, but Jesus is barely mentioned; none of the cardinals, despite being priests, are ever shown celebrating Mass; and the Holy Spirit — who is meant to be the “protagonist” of any conclave, in the words of (real-life) Cardinal Kurt Koch — is not mentioned once (apart from when characters make the sign of the cross).
The one fundamentally spiritual character, Cardinal Vincent Benítez (more on him later) is the sole character that “fundamentally couldn’t even be elected pope,” Bunson noted.
Ultimately, the lack of true spiritual depth in the writing of the characters makes their conversations, arguments, and speeches “rather drab,” Bunson continued.
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In reality, Bunson said that despite some real ideological differences among the College of Cardinals’ more than 250 members from every corner of the globe, “the cardinals from around the world, even though they don’t know each other, have [a] remarkable fraternity and collegiality as members of the College of Cardinals.”
“If this had been a genuine film on an authentic, Catholic conclave, that might have been truly historic and superb,” Bunson added.
Bishop Robert Barron of the Diocese of Winona-Rochester, Minnesota, expressed a similar criticism about the film’s ideological presentation on social media last year, quipping: “If you are interested in a film about the Catholic Church that could have been written by the editorial board of the New York Times, this is your movie.”
In the world of the movie, Barron continued, “the hierarchy of the Church is a hotbed of ambition, corruption, and desperate egotism … Conservatives are xenophobic extremists and the liberals are self-important schemers. None can escape this irredeemable situation.”
FACT: The process immediately after the pope’s death
The film, unsurprisingly, commences with the death of the (previous) pope. Bunson said the film’s depiction of the process that takes place immediately after the pope dies is reasonably accurate.
The key figure in any papal transition is the camerlengo, or chamberlain, who is a cardinal given the key role of organizing the process during the papal vacancy. Cardinal Tremblay, the camerlengo in the film, breaks the dead pope’s ring of the fisherman — a real and famous process symbolizing the breaking of the seal of the late pope’s pontificate.
The film skips the certification of the pope’s death, which under new papal funeral norms does not take place in the room where he dies but in his private chapel. As part of this process, the camerlengo calls the deceased pope three times by his baptismal name, confirming there is no response.
And later on, the film conflates some aspects of the role of the dean of the College of Cardinals with the role of the camerlengo, giving some of the camerlengo’s duties in arranging the conclave to Ralph Fiennes’ Cardinal Lawrence. (Bunson said he is willing to let slide those small details, which were likely changed slightly to make the scenes more impactful for Fiennes’ character.)
FICTION: ‘In pectore’ cardinal
Cardinal Benítez, who is strongly telegraphed as a papal candidate from the moment his character is introduced, says he was made a cardinal by the late pope “in pectore” — that is, in secret. He offers no documentation and no proof that he is who he says he is, and yet the other cardinals embrace him almost immediately.
In reality, Bunson said, a cardinal created “in pectore” cannot take part in a conclave unless the pope makes the cardinal’s name public prior to his passing.
“So right from the start, this character is ineligible to be a participant in this conclave, because he should not be a cardinal to begin with,” he said.
FACT: The setting and voting process
The fictional conclave takes place in the Vatican’s Sistine Chapel — though the filmmakers had to recreate the priceless chapel for the film — as does the real conclave.
The conclave system was formalized in 1274, and its procedures are minutely governed today by the apostolic constitution Universi Dominici Gregis of Pope John Paul II, as amended by Pope Benedict XVI and Pope Francis, and allows for no innovations on the part of the cardinals.
By tradition and law, the conclave is held in the Sistine Chapel, and votes are taken once or twice in a morning session and once or twice in an afternoon session. During the vote, cardinals individually approach Michelangelo’s painting of the Last Judgment, say a prayer in Latin, and drop their ballot into a large urn. Three designated cardinals then read each ballot aloud. A Catholic man needs two-thirds of the votes to be elected the next pope.
When a session concludes without a man reaching the required majority, the ballots are burned, causing black smoke to emanate from the chimney of the Sistine Chapel. However, if a pope is elected they are burned with the addition of a chemical agent, producing the characteristic white smoke signaling the election of a pope. (All of this is pretty well depicted in the movie, though Bunson said some things were “a little truncated for the sake of the audience” and for the sake of dramatic tension.)
Just as the movie depicts, once the doors of the Sistine Chapel close, it does indeed normally fall to the dean of the College of Cardinals to move the process along. (Though perhaps with fewer speeches as are depicted in the film, as those would have been done during the preceding general congregations).
In the case of the imminent real-life conclave, however, things will look a little different because of the advanced ages of some of the key figures.
Only cardinals who are younger than age 80 are eligible to take part in the conclave; these are the “cardinal electors.” Cardinal Giovanni Battista Re, 91, is the current (again, real-life) dean — i.e., the most senior member of the College of Cardinals, elected from among the ranks of the cardinal bishops and confirmed by the pope.
Re is too old to take part in the conclave, as is his vice dean, Cardinal Leonardo Sandri. So, the upcoming conclave will be directed by Cardinal Pietro Parolin, the next eligible most senior cardinal bishop and the Vatican’s secretary of state.
FICTION: The big twist
At the film’s climax, the cardinals inadvertently elect to the papacy a person who they believed to be a man — but in reality, the cardinal they elect, Benítez, is a biological woman who was raised as a male by her parents because she was born with an intersex condition.
CNA covered this aspect of the film in detail last October, with seminary rector Father Carter Griffin telling CNA that the Church’s constant teaching on this question, reiterated strongly by recent popes including Francis, is that the Church won’t — and in fact, can’t — ordain women.
In the case of the scenario depicted in the movie, Griffin explained that “a stable, secure, and well-ordered sexual identity is a necessary condition for priestly formation and ordination.” A biological female identifying as a male would not, in fact, be a male — and thus would be ineligible for the priesthood.
“It is our individual and unique creation as either male or female that identifies us as man or woman, not our subjective feelings or choices,” he said.
In priestly ordination, Griffin explained, a man is conformed to Christ in such a way that Jesus truly becomes present through him. Throughout his priestly ministry, but especially at Mass, the priest stands in the place of Christ who, as a bridegroom, lays down his life for his bride, the Church.
The priesthood, then, is a visible sign meant to point to the invisible reality of Christ’s presence as the “spouse” of his bride, the Church, which has always been understood to be female.
“Priests are conformed and united to Christ in such a way that they exercise their spiritual fatherhood in union with the feminine Church. Ordaining women would obscure that priestly paternity as well as the femininity of the bride of Christ,” Griffin said.
While the Church is unable to ordain them, there are countless ways that women have long served and continue to serve the Catholic Church, such as through religious orders, in parish life, education, health care, in other Catholic ministries, and within Catholic families.
“God created us differently in part so that we could exercise different roles and complement one another as mothers and fathers. This is true in the natural sphere but also in the order of grace,” Griffin said.
Jonah McKeown is a staff writer and podcast producer for Catholic News Agency. He holds a Master’s Degree from the University of Missouri School of Journalism and has worked as a writer, as a producer for public radio, and as a videographer. He is based in St. Louis.
