“Until White Smoke Rises” does not sound dramatic. But it is very dramatic.
Instead of riding the wave of his previous film, “All Quiet on the Western Front,” Edward Berger returns with a film that is the complete opposite: political maneuvering behind closed doors in the process of electing a new pope. But despite all the “wow” moments and the well-deserved nominations in “Until White Smoke Rises,” there is also a “but.”
“Until White Smoke Rises” was originally called “Conclave,” referring to the process of choosing a new pope. That is the title, and that is the film: 120 minutes of discussions and votes among cardinals until white smoke finally appears. It may not sound particularly interesting, but it is particularly interesting. It may not sound dramatic, but it is very dramatic. And before anything else, full credit is due for Edward Berger’s new film. In 2022, the German director-screenwriter gained international attention with the war epic “All Quiet on the Western Front,” and here, instead of riding that wave, he returns with a film that is the complete opposite. The opposite, except for one clear common denominator: humanity. Berger insists on finding this even in the battlefield and in the depths of the Catholic Church.
The novel on which “Until White Smoke Rises” is based takes the real tradition of electing a pope and overlays it with a fictional plot beginning with the death of the serving pope. The procedures of the election are managed by Cardinal Lawrence, who is both in the midst of a crisis of faith and also seen as a candidate for the papal seat. At least at the start, he believes the real race is between Cardinal Bellini and Cardinal Tremblay. If only the way could be found to block Cardinal Tedesco, the conservative candidate representing everything the Church tries to leave behind.
The drama here naturally has elements of political thriller. In this sense, “Until White Smoke Rises” is reminiscent of Spielberg’s “Lincoln,” another work that fully explored the cinematic and dramatic potential of political maneuvering behind closed doors. Add a touch of “12 Angry Men” for intense room-bound discussion dynamics, and you get an idea of the cumulative effect Berger achieves through careful character development and pure cinematic craft.
The actors are excellent, shining effortlessly. The cinematography is phenomenal, the editing should be taught in film schools, and the score is perhaps the best of the year. Up to this point, the “wow” moments are complete.
Now for the “but.”
“Until White Smoke Rises” manages to captivate for most of its runtime, sometimes amuse, and mainly be very believable both regarding the very specific world it depicts and in presenting the very human weaknesses of the candidates and those who must decide their fate. But it is precisely Berger’s human touch that slightly undermines the final stretch of the film, as it exposes aspects that somehow make the Church appear too human. Too progressive, perhaps even too woke. In the adaptation, it feels like a step too far.
This is a film worth leaving the house for, watching on the big screen, and hearing on the clearest speakers possible. It is superbly acted, shot, edited, and directed, and most of its Oscar nominations are entirely justified. Alongside films like “Amelia Perez” and “The Brutalist,” it completes a mini-list of recent films that are contenders for major awards, yet somehow fall just short of greatness. On the other hand, so few adult films are made these days that calling it “good but not great” is sheer luxury.