MOVIES AT LA PLAZA: CONCLAVE - The Vatican Intrigues

Movie Review by Sergio Martínez

The Pope has died, and the members of the College of Cardinals are summoned to Rome for this ancient and arcane procedure full of rituals and formalities: the conclave. During this meeting, the cardinals must elect the successor to the deceased pontiff. According to tradition, the solemn procedure is conducted by the dean of the College of Cardinals, in this case, Cardinal Lawrence (Ralph Fiennes), who must deal not only with the administrative aspects of the conclave but also with the vagaries, ambitions and polarized political views of the pretenders to the pontifical throne. If the Vatican, in normal times, is a focus of tensions and intrigues in times of papal elections, this character is amplified and exacerbated by the secrecy of many of the decisions.

One of these reserved decisions of the recently deceased pontiff introduces a first surprising element to the conclave: an unexpected new cardinal, the Latin American Benítez (Carlos Diehz), is admitted after it is revealed that it was a last papal appointment “in pectore” (the appointment of a cardinal not made public immediately but kept secret; at the end, we learn why).

As expected, the first votes do not achieve the necessary majority for any of the contenders; the “white smoke” will take time to appear while outside, an anxious crowd awaits the results. Meanwhile, the cardinals play their cards: the conservative Tedesco (Sergio Castellito) proclaims that the Church must return to a path from which the late pontiff and other “liberals” have led it astray. His ideological opponent Bellini (Stanley Tucci), on the other hand, tries to gain support under the slogan “stop Tedesco” since if he were to win, all the advances made under the previous papacy would be lost. On the other hand, Cardinal Tremblay (John Lithgow) tries to position himself as an alternative between the progressive and conservative positions, but doubts will also arise about his procedures. The possibility that an African Cardinal Adeyemi (Lucian Msamati), could be anointed as Pope is also part of the game of manoeuvres, not entirely clean, that unfolds behind the scenes of the election process.

The conclave is prolonged for a few days before a winner finally emerges, but this does not end the game of mysteries surrounding the old institution but rather opens a whole new and unprecedented situation. Cardinal Lawrence can finally conclude his task.

This film directed by Edward Berger, with screenplay by Peter Straughan and Robert Harris, author of the novel on which it is based, conveys very well the atmosphere of a process that has all the traits of a political campaign not unlike those we see in other contexts, combined with the ritual and mystical elements of an institution that, by the way, claims divine inspiration, but operates with all the imperfect human qualities.

Good camera work and setting contribute to the realism of the story, especially at the moment of an incident that interrupts the election process and serves to give arguments to Cardinal Tedesco and his anti-liberal discourse. Fiennes stands out in the acting by giving his character the necessary nuances to sometimes exercise authority while simultaneously being immersed in doubts.  Also outstanding is actress Isabella Rossellini, who, as Sister Agnes, at a crucial moment, will provide information that will surprise the cardinals (“Although we sisters are supposed to be invisible, God has nevertheless given us eyes and ears”, says the nun before delivering the news).

Conclave is a film that we recommend for those interested in a good story of intrigue, suspense, and unforeseen endings, as well as for those who are captivated by the many vicissitudes of an old institution such as the Catholic Church.

Running time: 120 min.

CINE EN LA PLAZA: CÓNCLAVE—Las intrigas vaticanas

Comentario de Sergio Martínez

El Papa ha muerto y los miembros del colegio cardenalicio son convocados a Roma para este antiguo y arcano trámite lleno de rituales y formalidades: el cónclave. Durante esta reunión, los cardenales deben elegir al sucesor del pontífice fallecido. Según la tradición, la conducción del solemne trámite corresponde al decano del colegio cardenalicio, en este caso el cardenal Lawrence (Ralph Fiennes) quien deberá lidiar no sólo con los aspectos administrativos del cónclave, sino además con las veleidades, ambiciones y polarizadas visiones políticas de los pretendientes al trono pontificio. Si el Vaticano en tiempos normales es un foco de tensiones y no pocas intrigas, en tiempos de elecciones papales ve amplificado ese carácter, además exacerbado por el secreto de muchas de las decisiones.

Justamente, una de esas decisiones reservadas del recién fallecido pontífice introduce un primer elemento sorpresivo al cónclave, cuando un inesperado nuevo cardenal, el latinoamericano Benítez (Carlos Diehz), es admitido luego de revelarse que se trató de una última designación papal “in pectore” (la designación de un cardenal no hecha pública de inmediato sino guardada en secreto, al final nos enteramos por qué).

Como era de esperar, las primeras votaciones no logran la mayoría necesaria para ninguno de los contendientes, el “humo blanco” tardará en aparecer mientras afuera una muchedumbre ansiosa espera los resultados. Entretanto, los cardenales juegan sus cartas: el conservador Tedesco (Sergio Castellito) proclama que la Iglesia debe volver a un camino del cual el fallecido pontífice y otros “liberales” la han desviado. Su oponente ideológico Bellini (Stanley Tucci) por el contrario trata de ganar apoyo bajo la consigna de “parar a Tedesco” ya que si éste ganara se perderían todos los avances hechos bajo el anterior papado. El cardenal Tremblay (John Lithgow) por su parte trata de posicionarse como alternativa entre las posiciones progresistas y conservadoras, pero también surgirán dudas sobre sus procedimientos. La posibilidad de que un africano, el cardenal Adeyemi (Lucian Msamati) pueda ser ungido como Papa también es parte de todo ese juego de maniobras, no del todo limpias, que se despliegan tras las bambalinas del proceso eleccionario.

El cónclave se prolonga por unos días antes que finalmente surja un ganador, pero con ello no termina el juego de misterios que rodea a la vieja institución, más bien deja abierta toda una nueva e inédita situación. El cardenal Lawrence puede finalmente dar por concluida su tarea.

Este film dirigido por Edward Berger, con guión de Peter Straughan y Robert Harris, autor de la novela sobre la cual está basado, transmite muy bien la atmósfera de un trámite que tiene todos los rasgos de una campaña política no muy diferente de la que vemos en otros contextos, combinado con los elementos rituales y místicos de una institución que, por cierto, reclama inspiración divina, pero opera con todas las imperfectas cualidades humanas.

Buen trabajo de cámara y ambientación contribuyen al realismo de la historia, en especial en el momento de un incidente que interrumpe el proceso eleccionario y que sirve para dar argumentos al cardenal Tedesco y su discurso antiliberal. En la actuación destaca Fiennes al dar a su personaje los matices necesarios para a veces ejercer autoridad mientras al mismo tiempo, estar también sumido en dudas.  También destaca la actriz Isabella Rossellini que, como la Hermana Agnes, en un momento crucial proporcionará una información que sorprenderá a los cardenales (“Aunque se supone que nosotras las hermanas somos invisibles, Dios, no obstante, nos ha dado ojos y oídos” dice la monja antes de dar la noticia).

Cónclave es una película que recomendamos tanto para quienes les pueda interesar una buena historia de intrigas, suspenso y finales imprevistos; como a quienes les cautive las muchas vicisitudes de una vieja institución como es la Iglesia Católica.

Duración: 120 min.

FESTIVAL DU NOUVEAU CINEMA: AN ATTENTIVE LOOK

Commentary by Sergio Martinez

The 53rd edition of the Montreal New Cinema Festival took place between October 9 and 20. It was a showcase that tried to include contemporary cinema and experimental works.

The following is a brief review of some of the films we had the opportunity to see.

The Seed of the Sacred Fig, directed by Mohammad Rasoulof (Germany-France-Iran).  Undoubtedly, it is one of the most interesting films at the festival, plus its own secret filming in Iran gives a special connotation to the story. Imam works for the judicial system and has recently been promoted in his job. When he tells his family this news, it is greeted with expectations of an improvement in his status, especially from his wife. Her daughters, on the other hand, do not seem very enthusiastic; the eldest of them is studying at university and has a close friend who is involved in protest activities, especially concerning women's demands. This happens in the times when a girl died at the hands of police for not wearing the veil (chador).

Suddenly, an incident occurs that can have bad consequences for Imam, lead to a head-on clash with his family, and reveal the work he actually does.

The film tells very well the tension that will occur within the family. However, the central character does not seem to be described in a very consistent way. At the beginning of his new job, he showed some reticence, but then he is shown as very possessed in the position he holds. In any case, this is a very good film.

Emilia Perez Dir. Jacques Audiard (France).  This surprising French film is set in Mexico and mostly spoken in Spanish. A very interesting plot shows us the brilliant lawyer Rita Moro (Zoe Saldaña), whose services are required by the drug lord Manitas del Monte (Karla Sofía Gascón) who, in order to mislead the authorities, has planned an elaborate scheme in which she will change her sex, where Emilia Pérez will be born, completely clean from her previous life, but with her fortune still in her hands. Eventually, however, some elements of the past will return to interfere in her new life. The film is a thriller with musical scenes, making it difficult to classify. At the same time, it reflects in a raw way the violence involved in the drug business.

The Apprentice, directed by Alia Abbasi (Canada-Denmark-Ireland-United States). A film that presents in a very accurate way “how it's done” a character who, from the always lurid world of business, moves into politics carrying with him the same questionable practices that have made him a mythical figure for many. The performances of the two main characters are very solid; Sebastian Stan adopts Donald Trump's mannerisms and gestures very well; Jeremy Strong, for his part, convincingly embodies lawyer Roy Cohn in all his exuberant display of power, and then also in his downfall. A highly critical approach to the central character, but without falling into superficiality or disqualification.

A Traveler's Needs Dir. Hong Sangsoo (South Korea). It is a bit difficult to classify this film, which has elements of a documentary, but at the same time tells a fictional story with French actress Isabelle Rupert in the role of a French teacher who travels around Seoul teaching her classes at home. Curiously, we almost never see her speaking in French as practically all the dialogues are in English. Basically, it is a succession of small, banal encounters where the only interesting note occurs towards the end when we discover with whom the Frenchwoman shares her life in Seoul.

A SMALL LATIN PRESENCE

La piel en primavera Dir. Yennifer Uribe Alzate (Colombia-Chile). A story with some potential: a woman who works as a security guard in a shopping mall and strikes up a relationship with the bus driver who transports her every morning. In the background, the aspirations of other women like her.  However, the film lacks focus in that all the plots are left in the air, with no way of knowing what is happening. These loose ends leave a disjointed story with incomplete characters, with a gratuitous final scene, without any justification or reference to an already incoherent plot.

More people die on Sundays Dir. Iair Said (Argentina-Italy-Spain).  The death of an uncle brings David (Iair Said), who is studying in Italy, back to Buenos Aires. In the midst of his Jewish family, David soon finds himself out of place, although he didn't seem to be any better off in Italy either. The film dabbles in the search for meaning in life, which David tries unsuccessfully, be it in his relationship with his father, who is in a coma, with his mother, who also has her own health problems due to her age, and in his relationships with other men, as David is gay.

It is a film that, at times, seems a bit dark, but it keeps the viewer's interest in David's fruitless search.