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Conclave (2024) Guide
In recent years, films centered on church-related themes have largely failed to deliver anything remarkable. Many of these productions, funded by church-backed entities, are often exorcism films with predictable results and limited impact.
Finally, we are treated to a power struggle drama of epic proportions—a "palace intrigue" spectacle, if you will—which is truly a breath of fresh air. This narrative unfolds with numerous fascinating elements, including a glaringly obvious struggle akin to the "Nine Sons Competing for the Throne" trope from Chinese palace dramas. Ultimately, the hidden edict behind the façade of righteousness prevails, and the complex battle culminates in a climactic resolution.
At its core, this power struggle is a battle of ideologies, a cultural clash representing differing visions of the church’s future. Let’s break this down point by point for clarity.
The first candidate, a Black bishop, is taken down by scandal, garnering only 52 votes before being eliminated. The revelation of a so-called "mistake every man made 30 years ago" is a masterstroke of character assassination. Digging up dirt from three decades past is no small feat and speaks volumes about the machinations at play. Clearly, this was part of the dying pope's grand scheme—a deliberate setup to discredit both the Black bishop and the rival who orchestrated the smear campaign. The bishop who was "forced to resign" might have been somewhat unjustly treated, considering two points. First, it’s plausible that the dying pope himself instructed him to bring the Black nun into the fold. Second, as another character aptly remarks, "Am I the only corrupt official in the entire church?" Yet none of this matters. In such a fierce contest, there can be no flaws. Candidates must be impeccable, leaving no room for compromise.
The remaining two contenders fare no better. One advocates for staunch conservatism, clinging to traditionalist factions. This approach is inherently flawed, as no single faction could possibly dominate the majority. While a revivalist stance might have some appeal, it encounters insurmountable hurdles. First, other factions are unlikely to support such a candidate, automatically aligning against him. Second, the decisive blow—meticulously orchestrated by the late pope—delivers a scathing critique that resonates profoundly. The message is clear: progress and cultural relevance are essential for growth, or at least for maintaining a chance of survival. Historical precedent has shown that reverting to religious wars or outdated doctrines leads nowhere. Attempting to apply antiquated solutions to contemporary problems is both impractical and destined for failure.
The final contender, a bishop who wishes only to preserve the late pope’s accomplishments, is ultimately weak and ineffectual. Without the strength to push forward, he garners no support. His conservative stance offers no room for progress or reform, relegating him to irrelevance in the grand scheme of this ideological war.
In the end, the election of an intersex pope is a monumental statement, even if it remains a fantastical notion in reality. This choice is more radical and groundbreaking than the prospect of a Black pope. It signifies a bold acceptance of and alignment with contemporary cultural movements without the need for any overt declarations. This singular act encapsulates the church’s willingness to embrace modernity and inclusivity. As for the "Voldemort-like" bishop, his eventual alliance with the sisterhood secures his regency, ensuring a resolution that satisfies all parties involved.
A final note must be made about the cinematography, which is undeniably stunning. Many scenes place characters against the backdrop of towering Gothic architecture, vividly illustrating the insignificance and helplessness of individuals when confronted with the immense power structures they navigate—even for the regent, whose influence spans far and wide. The camera work is more than mere visual spectacle; it carries a deeper symbolic weight, adding layers of meaning to the narrative.
