Conclavewas one of 2024’s most thrilling and gripping motion pictures, and today, the acclaim for the work by directorEdward Bergerand his outstanding team has been recognized. The movie, based on thebestselling novel of the same name by the prolificRobert Harris, takes viewers behind the scenes of one of the most secretive, mysterious and ancient events — the selection of a new Pontiff. Cardinal Thomas Lawrence (played masterfully byRalph Fiennes,nominated for Best Actor in a Leading Role) is given the unenviable task of putting together a covert vote, following the sudden death of the reigning Pope. However, once the most powerful individuals in the Catholic Church have arrived in the Vatican for the election process, Lawrence begins to uncover a series of shocking secrets that, if revealed, could bring down the entire Church.
To mark the well deservedeight nominationsreceived by the film during today’s Academy Awards announcement, Collider’sMaggie Lovittjumped on the phone toPeter Straughan, the screenwriter of the movie who received his second Academy Award nomination. Straughan — previously nominated for his outstanding work on 2011’sTinker Tailor Soldier Spy— spoke of his shock at receiving the acclaim, and humbly noted that it was a mystery to him as to whythe film had connected so well with audiences.
“I have absolutely no idea why it connected so well,” said Straughan. “I keep getting asked that, and I think that, if I knew, I would just do the same every time! I think we inherited the ambitions from the book, for the movie to be about something, but to do it in the most entertaining and gripping way possible. And I thinkEdward had some of the great thrillers from the 1970s in mind, movies likeAll the President’s Men,and I grew up with those movies as well. I think there definitely was a time whenmovies could have something to say, but still be mainstream entertainment. I think that was the challenge for us, to get the balance between those two sides to reach an audience.”
An irony to the film is that many scenes feature groups of men talking in rooms, the kind of thing that would get a film some criticism for “not being about anything”. Yet in the capable hands ofBerger behind the camera, and Straughan penning the words they use to verbally joust with each other, these scenes are elevated from simple exposition into daring and thrilling chess matches, with the key players plotting their next moves. Unsurprisingly, these scenes involving late-night conspiratorial plotting were some of Straughan’s favourites to construct, particularly those that illustrate the paranoia starting to creep into the minds of those seeking the Papacy.
“I like the group scenes with the Cardinals. There’s one on the staircase at nighttime withStanley Tucciand Ralph Fiennes, I love that scene as well,” Straughan added. “It always seemed fun to me when we were really on the line between secular politics, and horse-trading politics,and it felt like a really interesting way to bring both those sides to life. And it has that peculiar moment ofcreeping paranoia, when a door closes, and they all stop talking. It was fun to play with that.”
One key factor in the success of Straughan’s work on the film, according to him, was his presence on set, having been invited by Berger. This allowed for small changes to be made to the screenplay on the fly, which meant the process moved that much more subtly and smoothly, a process which Straughan credits to the generosity of Berger.
“It was a really happy experience for me. I’ve never done that before, and that was thanks to Edward, who asked me to come on set and was really welcoming, and included me. I really enjoyed it.I felt like it was useful and as much as we could fine-tune scenes just because I was there, as we could alter a line here or there, it was never anything major, it was sort of like being able to ‘make the suit bespoke’.I would never overplay the role I had on set, but for me, it was a great experience.”
And as for the nomination? Well, this is Straughan’s second nod, after all, so surely he’s an old hand at this by now. But how has this experience been differentcompared toTinker Tailor?The first thing Straughan wanted to point out was this project, unlike others,was one he wanted to do for fun. Reuniting with old friends was a pivotal factor, and Straughan believes that might be key going forward: focus on what you enjoy, and the work will speak for itself.
“I don’t really know, it’s a funny one,” he admitted. “I’ve spent plenty of time trying to get back there. What’s interesting for me aboutConclaveis that it’s probably the least calculated career move I’ve ever made, I did it before I read the book and I knew the people involved.
“I knew the two producers who contacted me, who worked with me before —Robyn SlovoonTinker TailorandTessa Rosson another film calledFrank —and I just wanted to work with them again. So it felt almost like it was a labour of love, I never would have foreseen that this was where I’d end up as a result. And maybe that’s the takeaway; do the projects that are genuine and that’s the best chance you’ve got of finding awards.”
What Else Did the Creative Team Behind ‘Conclave’ Say About Their Nominations?
It wasn’t just Straughan who was recognized today by the Academy. In total, the film received eight nods includingBest Picture;Actor in a Leading Role; Actress in a Supporting Role(forIsabella Rossellini’smagnificently internalized performance);Costume Design(forLisy Christl);Film Editing(forNick Emerson);Music (Original Score) for the work byVolker Bertelmann;Production Designfor the work bySuzie DavieswithSet DecorationbyCynthia Sleiter; and of course, Straughan forWriting (Adapted Screenplay).
Fiennes — who received his third Academy Award nomination todayafter 1993’sSchindler’s List, and 1996’sThe English Patient— hailed the “inspirational” Berger with whom he credited for having “rare insight and a unique vision which lies at the heart of the film”, as he added that he was “thrilled” to have received a nomination and to be “celebrating the other nominations forConclave”.
Rossellini issued a statementfollowing the confirmation of her first nomination, in which she expressed her pride and also her sadness that her two parents,Roberto RosselliniandIngrid Bergmanwere not alive to see it. Rossellini also paid tribute to the lateDavid Lynch, whom she thanked for helping to further her “understanding of the art of acting.”
Christl, in a short release, added that she was “overjoyed and full of gratitude for all of us from the Conclave team"following her Costume Design nomination, while Bertelmann described his nomination as a “huge honor”, adding that working with Berger was “a big gift, that allows me to search and discover a lot of possibilities.” Lastly, producers Tessa Ross,Juliette HowellandMichael A. Jackmanpraised the “brilliant vision” of Berger’s film, confessing their utter delight that it had been recognized as one of the year’s best films.
“We’re absolutely thrilled by today’s nominations and honoured that the Academy have recognised the extraordinary team that we were lucky enough to bring together, to deliver Edward Berger’s brilliant vision.”
Conclaveis available to stream now on Peacock. Stay tuned to Collider for more updates on this year’s awards season.
Following the unexpected death of the pope, Cardinal Lawrence (played by Ralph Fiennes) is tasked with overseeing the secretive conclave to elect the next pope. As the process unfolds, he uncovers a conspiracy that could shake the very foundations of the Catholic Church.
