Conclave’s Cinematography Shines a Light on Vatican Mysteries

Adapted from Robert Harris’ bestselling novel, Edward Berger’s Conclave dramatizes the tense days leading up to the election of a new Pope in the Vatican. Ralph Fiennes plays Cardinal Lawrence, the man tasked with uncovering the backroom conspiracies and papal intrigue in order to find the right man to lead 1.4 billion Catholics. With a stellar cast that includes John Lithgow, Stanley Tucci, and Isabella Rossellini, the movie provides a cinematic masterclass in creating suspense and intrigue. Kristomania writes, “Conclave is a thrilling, fast-paced drama that plays with all the twists, turns, and paranoia of a 1970s political film.

Acclaimed cinematographer Stéphane Fontaine was tapped to bring this drama to the screen. In films like A Prophet and Jackie, Fontaine imbued his cinematography with poetry and power. “Fontaine’s images and his intuitive way of dealing with the characters was a wonderful gift to steer away from anything we’ve seen before,” says Berger in the production notes. Indeed, the Los Angeles Times writes, “Fontaine utilizes the unique scale and scope of the Vatican to deliver breathtaking compositions and slowly creeping zooms that add to the pressure of the claustrophobic atmosphere.”

Conclave is in theaters, so get tickets now!

How did you get involved in shooting Conclave?

Edward called me in July 2022 and told me about this project. He’d seen a few films I’d done and felt our collaboration would prove fruitful.

When you read the screenplay for Conclave, what excited you about this project?

The fact that it felt both intimate and epic, and all seen through one person’s eyes.

What did you see as your biggest challenge?

The fact that the cardinals are not only locked down inside the Vatican but that even daylight barely comes in through blinds or shutters and veils.

What was the visual strategy that Berger and you worked out at the beginning of the film?

We wanted to translate the sense of unease caused by this somewhat suffocating atmosphere into the visuals. We extensively used the widescreen 2.40:1 aspect ratio, either by packing the frames or by isolating characters.

How did you bring intrigue and suspense into the story through the cinematography?

I never thought in terms of mystery or suspense but in terms of tension and expression of doubt as seen exclusively from Lawrence’s point of view.

Did you shoot the various candidates differently?

Never. We had to give a fair treatment to each character equally. The main difference came from the nuances in the lighting style depending on the level of intimacy that Cardinal Lawrence has with each of the protagonists.

Were there films that inspired you?

Not that many references, perhaps The Parallax View and the opening of The Godfather.

What do you hope audiences take away from Conclave?

The film serves as a starting point for a conversation.

This interview has been edited and condensed for clarity.