In the shadow of belief and suspicion, who do we elect?

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In the shadow of belief and suspicion, who do we elect?

Published: 25 Mar. 2025, 00:04 Updated: 26 Mar. 2025, 17:37

Audio report: written by reporters, read by AI

Lee Hoo-nam

The author is a senior culture reporter at the JoongAng Ilbo.

The sudden and unexpected passing of a predecessor sets in motion the selection of a successor — through a vote. But not the kind of vote most people would imagine. There are no official candidates. No campaign speeches, no public declarations of vision or values. No televised debates or policy scrutiny.

There is no final round, either. If no one meets the required threshold in the first vote, the process simply continues — a second, a third, however long it takes. All of it unfolds in complete seclusion from the outside world. Even the way results are communicated is steeped in tradition: The color of smoke rising from a chimney signals whether a decision has been reached. As one might guess, this is no ordinary election. It is the papal conclave.

A still from the film ″Conclave″ [D-STATION]

The film “Conclave,”(2024) as its title suggests, centers on the secretive process of selecting a new pope. But rather than unfolding as a religious film, it plays more like a political thriller. The audience begins with no knowledge of the voting dynamics, and as each round of balloting progresses, new revelations and reversals heighten the tension. Some characters are determined to prevent certain candidates from ascending; others are driven by ambition, maneuvering with strategies that border on intrigue — even conspiracy.

At the heart of this drama is Lawrence (Ralph Fiennes), the cardinal responsible for overseeing the conclave. Though he casts his vote in each round, he doesn’t appear to be driven by ambition or personal agenda. Instead, he becomes the one to quietly uncover the truths — and doubts — that cannot be ignored in the process of electing the next pope.

One of the film’s most memorable lines comes from Lawrence himself. Rather than calling for unwavering faith, he warns of the dangers of unexamined certainty — a kind of blind conviction. Though spoken within the confines of the film, the words resonate beyond its narrative. In today’s world, overconfidence is one of our defining traits. Many are more inclined to believe what they want to, rather than what the evidence supports.

Because the film is filled with twists and surprises, revealing too much of the plot risks spoiling the experience. The ending, too, takes a somewhat idealistic turn. But personally, I found myself thinking beyond the film’s intended message. The drama of an election always ends with someone’s victory. But the real-life drama of democracy is more complicated. As someone who has experienced Korea’s political landscape as a voter, I can say this much: Whoever wins, a happy ending is rarely guaranteed. That, too, is something currently playing out beyond the theater.

One final note: The film also highlights the presence of the nuns who care for the cardinals — cooking, cleaning and maintaining the rhythm of daily life. When I saw a senior nun portrayed by none other than Isabella Rossellini, I instinctively assumed her role would hold some pivotal significance. In the end, I was only half right.

Translated using generative AI and edited by Korea JoongAng Daily staff.