As a trans woman myself, I find the ending of “Conclave” both intriguing and thought-provoking. The representation of a transgender character as the pope, albeit unintentionally due to their intersex identity, challenges the traditional narrative and offers a refreshing perspective on gender roles within the Catholic Church.
Spoilers ahead for the plot and ending of Conclave, now in theaters.
In an unexpected turn of events, you might not anticipate a film about the selection of a new pope to have the year’s most shocking twist ending. However, it’s crucial to remember that the Vatican is known for its complexity and love for drama. Edward Berger’s “Conclave,” based on Robert Harris’ novel, beautifully portrays the grandiose ceremonies and opulent displays of Roman Catholicism. Simultaneously, it provides a personal (though fictional) insight into the power struggles and tense exchanges that occur during the election of the supreme pontiff. While the film’s conclusion may take viewers by surprise, it is not the only secret unveiled throughout its two-hour duration; instead, it ties in with the central theme of progress versus tradition that underpins “Conclave.
In this drama, Ralph Fiennes portrays Cardinal Lawrence, the head of the College of Cardinals, responsible for managing the papal conclave following the unexpected demise of the pope. His favored choice for the new Bishop of Rome is Cardinal Bellini (Stanley Tucci), a progressive thinker with modern perspectives. However, there are opposing views, such as those held by Cardinal Tedesco (Sergio Castellitto), who criticized the late pope and believes the church has grown too tolerant. Similarly, Cardinal Adeyemi (Lucian Msamati) advocates for imprisonment of individuals identified as gay and believes they will eventually end up in hell. Lastly, there’s Cardinal Tremblay (John Lithgow), a liberal leaning candidate whose primary aspiration appears to be claiming the papal throne for himself.
In an unexpected turn of events, Cardinal Benitez, the archbishop of Kabul who was born in Mexico, makes his entrance onto the scene at the conclave. This cardinal is a secret appointment by the late pope, so he’s a surprise member of the College of Cardinals. Not much is known about him, but Lawrence’s assistant, Monsignor O’Malley (Brían F. O’Byrne), leverages his position as an outsider to the conclave to gather and disseminate information about Benitez. Among this intel is the revelation that Benitez considered resigning from his post for unknown health concerns.
In the beginning of the voting process, Lawrence finds out that Bellini lacks the required votes to be elected pope. However, as the conclave progresses, he also discovers why other candidates are not suitable for the position. Adeyemi is leading in votes until it’s revealed that he had a hidden relationship with a 19-year-old nun years ago and may have fathered a child. Tremblay appears to be the next best choice, but his downfall comes when it’s exposed that he bribed several cardinals to vote for him, and he was dismissed by the pope in the past. In the end, it seems like the liberals’ last chance lies between Tedesco and Lawrence themselves, but a terrorist attack triggers Tedesco to deliver an emotional speech criticizing tolerance towards Islam and declaring a religious war, which results in him losing the support of all but his most devoted followers.
In reaction to Tedesco’s angry statement, Benitez – who has personally experienced war – delivers a contrasting message emphasizing the importance of not succumbing to hate. He argues that the church is not tied to tradition or history, but rather “what we do moving forward.” This decisive action leads to Benitez being chosen as pope. However, just as Benitez picks his papal name as Innocent, O’Malley resurfaces with information about a Swiss clinic where Benitez had initially considered seeking treatment. Lawrence then confronts the newly-elected pope, who confesses the truth: Although Benitez was brought up as a man, genetically he was born with a uterus and ovaries. He continues to identify as male while acknowledging that others might see his genetic makeup as female.
The revelation in the movie that Benitez is intersex, as depicted in Conclave, aligns closely with the novel’s narrative, indicating a highly faithful adaptation overall. However, there are notable differences that delve into the underlying themes. In both the book and film, the newly elected pope declares, “I am what God made me,” but in the movie, he further explains how his intersex identity could be advantageous for his role, as he “lives between certainties.” This echoes Lawrence’s impromptu homily before the cardinals were secluded, where he argued that “certainty is the enemy of unity and tolerance.” Lawrence, struggling with his own uncertainties, desires a pope who questions and sins. The majority of cardinals perceive this as a call for an open-minded pope, which ultimately leads to the election of a liberal leader. This pope’s gender identity, though unintentional, represents a significant leap forward for the church in terms of acceptance and inclusivity.
In some circles, it may be seen as a predictable plot device that “Conclave” introduces a surprising twist towards the end. Considering the film’s emphasis on gossip and conflict reminiscent of reality TV shows, this view is not entirely unfounded. However, there seems to be more at play here as well. The election of Benitez as pope, amidst the fall of his fellow cardinals, mirrors the intricacies of human nature – no candidate for the position of supreme pontiff could possibly be without imperfections. (It’s important to note that an intersex identity is not a flaw, but Benitez’s traditionally female anatomy might have been viewed as a disadvantage by the patriarchal Roman Catholic cardinals who elected him.) As one of Bellini’s supporters argues when advocating for the liberals to unite behind the least controversial candidate, “We strive for an ideal; we can never truly be ideal ourselves.
Despite any differences in the plot, it’s worth noting that Benitez’s intersex identity might face resistance due to its unexpected nature. This theme is part of a long-standing cinematic trend often referred to as “The Unsettling Gender Reveal,” as previously described by The Advocate. Films such as The Crying Game, Ace Ventura: Pet Detective, and Sleepaway Camp have used this trope, with trans characters’ identities serving as a source of humor or deception. However, Conclave seems to consciously avoid this pattern by presenting Benitez’s gender not as something sinister or terrifying but as a divine blessing, even gaining the approval of the former pope.
It’s not my job to judge if the ending of Conclave is offensive; that’s something for trans critics to decide. However, it does appear that the filmmakers have given a careful and deliberate modern twist to the original story. In the book, Benitez is revealed as having a vagina, while in the movie, the new pope has a uterus and ovaries. Although this might seem like a small difference, it’s significant – the new pope possesses reproductive organs that traditionalists like Tedesco aim to regulate. At the beginning of the film, Bellini expresses his liberal views, making it clear he supports contraception, a contentious topic within Catholicism. Pope Francis has reinforced the church’s stance against artificial birth control while also promoting “responsible parenthood.
In “Conclave,” I found that it doesn’t openly champion any specific Catholic doctrine, instead, it subtly explores the unavoidable march of progress. If there’s a message to be gleaned, it transcends the church and delves into the universal theme of change. Bellini, a character who advocates for women to hold more influential roles within the Curia, is cautioned to keep quiet about his beliefs – even liberals draw the line here. However, the female characters in the film, despite their minority status, play crucial roles. Sister Shanumi (Balkissa Maiga) instigates Adeyemi’s downfall, and Sister Agnes (Isabella Rossellini) manages to sway the cardinals against Tremblay. The movie concludes with the election of a pope who, though not female, possesses an androgynous nature, offering a far more inclusive outlook on gender than someone like Tedesco might have.
Ultimately, the constant quarrels and deceit among the cardinals won’t stop the rise of female power that seems inevitable, much like a wheel keeps turning. This narrative is reminiscent of Tony Kushner’s words, “the world only moves forward,” offering a hopeful perspective, albeit one that may be overly optimistic. However, in October 2024, such an outlook isn’t undesirable.
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2024-10-25 18:54