How Conclave (2024) Can Teach Photographers Cinematic Storytelling

The Role of Photography in Cinematography

Photography plays a crucial role in cinematography by providing the foundation for visual cinematic storytelling in movies. Cinematographers, often referred to as directors of photography, are responsible for crafting the visual language of a film, which includes framing, composition, lighting, and camera movement. These elements, rooted in the principles of still photography, are essential in creating mood, conveying emotions, and guiding the audience’s attention. Just as photographers capture decisive moments to tell a story, cinematographers use moving images to weave a continuous narrative, ensuring each frame contributes to the overall visual impact. Cinematographers try to draw inspiration from photography to create memorable visual moments in films, borrowing techniques such as high contrast, soft light, or chiaroscuro to evoke specific emotions. Similarly, framing and composition fundamentals in photography, help determine how a scene is perceived by the viewer. Cinematographers meticulously design every shot to mimic the impact of a powerful photograph, making each frame visually compelling and narratively meaningful.

How Photographers Can Benefit from Cinematography

Photographers can gain valuable insights from watching movies by observing how cinematographers use visual elements to tell stories. Films offer rich lessons in dynamic composition, creative lighting, and visual pacing, all of which can elevate a photographer’s skill set. By studying how scenes are framed and illuminated, photographers can learn how to build mood and evoke emotion in their images. Moreover, observing how characters and environments are visually connected in cinema can inspire photographers to think beyond single images and explore storytelling through cohesive photo series. Let’s start and explore photography insights for photographers and discover the art of visual storytelling in the movie Conclave (2024)

Lighting and Shadow Play

In general, the film employs low-key lighting to create a somber and mysterious atmosphere, reflecting the secretive nature of the papal conclave. This technique emphasizes contrasts between light and shadow, enhancing the dramatic tension.

The following photograph (Image A) belongs to the scene where Cardinal Lawrence walks toward the podium to announce his candidacy for the papacy. It is a behind-the-scenes shot from this scene. As seen, the environment is quite bright, with large, powerful lights positioned at the top of the set.

Image 2 below shows the final version of the scene after the film’s editing process.

As observed, during editing, the scene was darkened as much as possible to convey the serious, cold, and oppressive dramatic atmosphere of the Sistine Chapel and the church. This approach generally dominates the film’s lighting except a few scenes where the lighting was especially made brighter and evenly lit, but I will come to that later.

The Effect of Lighting on Characters

When asked by Director of Photography Stéphane Fontaine whether they shoot the various candidates differently, he says: In other words, the characters’ relationships and connections with each other are visualized through careful and creative use of light. This seems to be intended to create a visual difference between characters based on their emotional or roles within the story. We see this situation particularly in scenes where the characters are in dialogue with each other.

Chiaroscuro Lighting

The film frequently utilizes chiaroscuro lighting—a stark contrast between light and dark areas within the frame—to highlight the internal conflicts and moral ambiguities of the characters. This technique casts pronounced shadows across the actors’ faces, emphasizing their emotional turmoil and the gravity of their decisions during the papal election process.

Selective Illumination and Negative Space

In intimate dialogue scenes, selective illumination is employed to focus attention on specific characters or elements, while allowing the surrounding environment to recede into darkness. This method not only directs the viewer’s gaze but also symbolizes the isolation and introspection experienced by the cardinals as they navigate the complex political landscape of the conclave.

There are many scenes in the film that utilize this type of dramatic lighting to symbolize heightened drama and serious formality. Each scene is individually treated with localized lighting, and during post-production, certain areas were significantly darkened to create negative space, aiming to draw the viewer’s focus more on the characters.

Symbolic Use of Light, Shadow and Contextual Contrast

The interplay of light and shadow in many shots often also serves a symbolic purpose, reflecting the dualities present within the narrative—faith versus doubt, transparency versus secrecy, and tradition versus reform. By manipulating lighting in this manner, the film visually reinforces its exploration of these contrasting themes. There is a cohesive language thought out the film depending on the narrative, not as a whole but also scene by scene. In the below, there are two images where the first image is during a conversation between Cardinal Lawrence (Ralph Fiennes) and Cardinal Aldo Bellini (Stanley Tucci) after Cardinal Lawrence finds out the dirty secret of Cardinal Trambley. The room is lit very dimly, and we see both Cardinals discussing whether this information should go public or not.

And the second image is from the scene where Cardinal Lawrence reveals this information in the cafeteria, a fully lit bright room. Even the women are there too. And look at what Cardinal Trembley says when the documents are revealed. And it literally has seen the light of day. And it literally has seen the light of day.

Isolation and Secrecy:

We can see the same approach in the vast, dimly lit theatre hall that surrounds the cardinals in shadow, symbolizing secrecy and the clandestine nature of their political discussions. The sparse lighting highlights only the immediate space where the cardinals sit, emphasizing their isolation from the rest of the world and perhaps even from divine clarity.

Faith Versus Doubt:

Two small lamps in the background stand as a faint, solitary light source. This could metaphorically represent flickering faith or the distant presence of divine guidance amidst a setting dominated by ambiguity and political tension.

Tradition Versus Reform:

The choice to place cardinals in a modern theatre instead of a traditional ecclesiastical setting adds a subtle visual commentary. The contrast between contemporary space and traditional clerical attire symbolizes the tension between upholding tradition and adapting to modern challenges. In this scene, light and shadow are carefully manipulated to create a layered visual narrative, reinforcing the film’s exploration of political intrigue, moral ambiguity, and institutional dualities.

Color Palette and Symbolism

Muted and Cold Tones (Power and Control)

Muted colors are a significant aspect of the visual language in Conclave, contributing to the somber tone of the film. The cold, subdued color palette—ranging from deep blacks to cool blues and grays—mirrors the formal, often bleak atmosphere of the Vatican. These colors suggest control, authority, and the calculated nature of the decisions being made.

Muted color palette in general, with occasional bursts of color to signify important narrative elements. This deliberate use of color guides the audience’s emotional response and highlights key moments within the story.

In the Sistine Chapel scenes the color scheme is dominated by cold grays, dark blues, and deep blacks. These hues symbolize the rigidity, formality, and austere traditions of the Vatican’s politics. The absence of warm tones emphasizes a lack of humanity and compassion, mirroring the secretive and hierarchical atmosphere.

Color Contrast

The juxtaposition of the vibrant red robes of the cardinals against the neutral tones of the Vatican’s architecture creates a striking visual contrast. This not only adds aesthetic appeal but also symbolizes the tension between tradition and the evolving dynamics within the Church.

The red robes of the cardinals stand out sharply against the muted backgrounds, symbolizing the burden of responsibility, tradition, and occasionally, guilt or ambition.

Framing and Composition

Wide-Angle Shots

The film captures the opulence of the Vatican, utilizing wide-angle shots to emphasize its vastness and the imposing nature of the institution. This approach underscores the weight of tradition and the solemnity of the conclave process.

By positioning characters against expansive, unadorned backgrounds, the cinematography accentuates the hierarchical structures and power imbalances within the conclave. The ample negative space can make individuals appear smaller or more isolated, visually reinforcing their vulnerability or lack of influence in contrast to the institution’s grandeur.

Low-Angle vs High-Angle

In photography, low-angle shots are taken from a position below the subject, looking up. This perspective often conveys a sense of power, dominance, or importance. It can make the subject appear larger, more imposing, and commanding, which is why it’s commonly used to depict figures or objects that are meant to evoke authority or strength. Low-angle shots can also create a feeling of awe or admiration, as if the subject is elevated or superior to the viewer. The two images below are a great example of low angle shots. While the low-angle shot of the cross emphasize a feeling of the divine or eternal, or the authority and power of the church but at the same time the silhouette effect strips away any distracting details, focusing solely on the cross’s shape, which could evoke a sense of mystery, reverence, or struggle.

The low-angle shot of the above scene which takes place in the Sistine Chapel emphasizes the grandeur of the architectural space, underscoring its historical significance and the weight of tradition. However, the small and distant depiction of the cardinals serves as a subtle counterpoint, drawing attention to the underlying conflict and power struggles that often accompany the papal election. This visual contrast highlights the tension between the sacred institution’s monumental traditions and the personal ambitions and rivalries among the cardinals. The following image offers a similar dynamic but with a distinct interpretation. Cardinal Lawrence is seen standing on a balcony, gazing down at the courtyard filled with other cardinals just before the conclave begins. The rich, saturated red of his robe stands out sharply against the muted background, visually isolating him from the crowd and emphasizing his significance. His elevated position hints at the weight of his role as the dean of the conclave, underscoring both the responsibility and authority entrusted to him in this pivotal moment.

This can be explained by the technique of directing attention in photography. Despite being proportionally smaller, Cardinal Lawrence immediately draws the viewer’s attention with his vivid red robe and sharp focus. In contrast, the expansive courtyard and the other cardinals remain as a muted, low-contrast background. This contrast allows the visually strong yet physically smaller element to dominate over the larger but visually weaker elements. This technical contrast in composition creates a dynamic structure for the photograph, simultaneously establishing Cardinal Lawrence as a visual and conceptual focal point. This detail conveys a powerful narrative centered around authority and commanding attention. In the above image there is also another point that I would like to share even though it is not directly related with the high-angle. The other cardinals in the courtyard are arranged in a geometric pattern, giving the scene a rhythmic structure. Although the background occupies a larger physical space, it remains secondary in the visual hierarchy.

Close-Up Shots and Depth of Field

Director Edward Berger and cinematographer Stéphane Fontaine utilize framing techniques that focus on characters’ reactions during off-screen dialogue, adding depth to the narrative. This approach allows for a more intimate connection with the characters and their internal conflicts. The cinematography in the move often employs close-up shots with a shallow depth of field, filling the frame with actors’ faces to capture subtle expressions and emotions. This technique draws viewers into the personal dilemmas and moral complexities faced by the characters.

In the image above, you can see a tight close-up shot of Cardinal Lawrence, delving into his thoughts and internal conflicts, allowing you to feel the weight of his responsibility during the conclave. In these intimate close-ups, focusin on the chracters expressions, highlighting their internal conflicts and the personal stakes involved in the election. This technique fosters a deeper connection between the audience and the characters.

Frame-in-Frame

The frame-in-frame technique in photography serves multiple artistic, emotional, and compositional purposes. Its primary aim is to enhance the visual storytelling by guiding the viewer’s eye, creating depth, and adding layers of meaning to the image. The below image which is used in the official trailer of the movie by Focus Features Films is one of the many examples of ‘frame in frame’ technique which you can came across in the movie. The subject is placed exactly infront of the window where the natural daylight is coming through and the curtains that are in shadow represents an inner frame that guides the viewer’s eyes inward toward the subject. The composition creates a sense of focus or draw attention to the contrast between the frame and the framed scene. There is a separation between the character (subject) and the background and – a stark contrast between light and dark (transparency & secrecy) areas within the frame—maybe to highlight the internal conflict and moral ambiguities of the main character since we can see Cardinal Lawrence’s eyes are closed and we can sense that he feel trapped and the narrow triangle shape which is created with the curtains strenghtens this narrative.

Below there are few more scenes where frame in frame technique is used. In each of these frames the use of this technique can act as a tool that can convery different messages or symbolism depending on the story of that particular scene. It can be used to create separation, or a portal inviting us into another world or dimension or it can points a journey from chaos to calm or vice versa, or it could creates a sense of discovery as the viewer is peering into a hidden or intimate moment. It all depends on the message we want to express.

The image above is about the scene which takes place after the conclave has concluded and the new Pope has been elected. The outer frame is dark, possibly symbolizing the conflicts and secrecy within the Vatican. However, the gate opening to the bright courtyard acts as an inner frame, guiding our gaze toward the garden. There, Cardinal Lawrence stands with his head lifted toward the sky, evoking a sense of freedom. His posture suggests that he has fulfilled the challenging responsibility of directing the conclave, and there is an expression of comfort and peace in his gesture.

Conclusion – closing thoughts

The film’s use of creative lighting techniques such as chiaroscuro lighting, selective illumination, and symbolic contrast underscores the power of visual storytelling, transforming each frame into a carefully crafted photograph. Using different shooting angles add layers of meaning, shifting perspectives to evoke power, vulnerability, or tension. Its controlled use of depth, symmetry, and movement demonstrates how visual elements can shape narrative and emotion. By studying these techniques, photographers can learn to create mood, enhance drama, and guide the viewer’s eye with intentional framing and lighting. Every frame—whether in film or still photography—is an opportunity to craft a story, not just capture a scene. Whether capturing a single image or building a cohesive series, the lessons from Conclave remind us that photography, like cinema, is not just about what is seen—it’s about what is felt.