dreams mocked to death by Time

partners in belief

Adeyemi’s hand on Tedesco's shoulder links to the framing of both cardinals holding conservative beliefs and aligning on more issues than that of the ‘liberals’. Despite this firm grasp, neither cardinal is looking at one another, due to their main focuses and desires throughout the conclave differing as well as their lack of interaction throughout. Despite similar beliefs, Tedesco makes it clear they would most likely not get along. They’re positioned on the (audience’s) right of Lawrence, a simple communication of their conservative/traditionalist leanings. 

Despite being on opposite sides of Lawrence, Tedesco and Bellini are at level with each other. Though both believe they hold opposing views, their goals in the conclave remain the same, to beat the other side. They both believe they are fighting on the ‘right’ side of a ‘war’, however neither are nowhere near any true harm, both in high rankings of the church and shielded from the outside world during the conclave.

eye contact

Adeyemi and Shanumi both are looking solely towards each other, showing their pre-existing knowledge of each other. However, these glances are made through Lawrence, not being able to communicate effectively between each other. Lawrence becomes the wall between them as well as the messenger in discussing their history and confessions. 

Tremblay and Agnes share knowing glances, with Tremblay towering over Shanumi and Agnes paired with the computer and evidence of possible wrongdoing. 

Bellini looks down on his chess game, with chess pieces made to look like other cardinals. He’s not focused on the actual people of the conclave, but the game and which “side” wins. The chessboard is in the formation of a checkmate, with a piece resembling Tedesco on the losing side. The game may reflect his desires, but not reality. This also refers back to his reflection on the fact the late pope would always beat him at chess, and now a different cardinal will win over him, at the conclave.  

Benitez looks down on the ongoing conclave, with his back turned. He observes the events unfolding while still disconnected, as no one else observes Benitez. He is unsuspected, and alone, but not detested.

Tedesco is only one of two of the main figures to be looking off screen away from the conclave. Despite his desire to be pope, what overcomes it as well as him as a whole is his desire for traditionalism. Despite being sequestered, he is focused on the world outside and his prejudices and ignorance preconceived prior to the conclave. 

Lawrence is looking up, straight to the side. With O’Malley whispering into his ear, he directs Lawrence’s view through a gap in the conclave, offscreen. Despite being sequestered he gains information from the outside throughout the conclave, leading his focus elsewhere from his cardinals throughout the proceedings.

the dean

Lawrence is a central figure due to his role as dean. The cardinals and sisters form around him as he steers the conclave.

His white cassock resembles that of the pope’s attire, yet is empty of details. His leadership role will be a temporary one, not fully fledged. He does not want to fill the space left behind, and yet he must for the time being.

Lawrence grips his zucchetto in his hand. His insistence of having no desire to continue in his current role as dean within the church leads to holding the symbol of his status by his side, not wearing it like the rest of the cardinals. However, he does not completely abandon it, merely holds it. Despite his assertion he doesn’t want the role, he does not abandon it completely, yet. 

Lawrence’s cross is the only one to show in the piece. He holds his desire to serve God rather than the politics of the conclave close to his chest, almost as a barrier, yet his struggles in faith and prayer shows through the gaps in his hands. 

simony

Both sisters have their hands covering their mouths, preventing them from speaking. However, they are still seeing and listening, their places leading them to be able observe the ongoings of the conclave.

Tremblay is holding his arm over his pectoral cross, feigning innocence and using his faith and following of the late pope to swear no wrongdoing.

The bird from agnes’ office stands uncaged on top of the computer holding details of tremblay’s simony, indicating the information to be free and out in the open.

The ballots flowing around the computer follow the sway in opinion after the simony and request of sister shanumi to be brought to rome was brought to light by the cardinals. on the opposite side flow the full leaked documents, down past Tremblay and Shanumi, into the hands of cardinals, and through to their walk with the umbrella to one of the final votes they would make. These papers start forming near the body of the late pope, who was the one who kept these records. The pope's body is also positioned adjacent to both Woźniak and tremblay, those being two of the last few people to be with the pope the day of his death.

the new cardinal

Benitez is the only one not in the red and white choir dress, but in a regular cassock. The simplistic dress is plain compared to the display of the other cardinals, the black is an obvious contrast of the white attire worn typically by the pope, mirroring his belief in someone like Lawrence being pope instead of him, being completely honest and shown in his being. His messenger bag is over his shoulder, containing his only belongings. Paired with his back turned to the rest of the scene, it shows his willingness to leave the cardinals and return to his own work. 

A turtle is held close to Benitez’s chest. They are innocent and unknowing animals confined in the Vatican, continually walking into places they are not meant to be and, according to Lawrence, being killed accidentally for doing so. They are loved and cared for but are still from a different place of the world, in a new territory unable to leave, similar to the new pope after the conclave. Turtles are sometimes seen as being burdened and heavy by the weight of sin, as well as a symbol of persistence, longevity and spiritual independence.

Benitez is shown with a tear down his cheek, similar to how Mary is sometimes depicted in relation to the seven sorrows of mary. The red is the same red as the cardinals cassock and mozzetta, the blood of Christ and a show willingness to bleed for the church. Benitez cries for those who bleed, the women and children he has had to aid, the impoverished and sick, etc, those he highlighted in his blessing in the cafeteria. 

private living

In the book, Benitez leaves the razor he was given in its wrapping, even noting to O’Malley prior that he wouldn’t need one. Lomeli/Lawrence sees the razor, as he helps extinguish prayer candles in Benitez’s room. The simplicity and calmness of the candles and extinguishing them, even just after disagreement with Benitez, contrasts against the strain Lawrence shows in the privacy of his own bathroom.

In the film, the bathroom is cold and clinical. Lawrence faces his resignation rejection and grapples with his role of manager in the possible coming weeks. He self punishes and struggles coming to terms with his age, hitting the sink when frustrated with his toiletries bag. In the book, he purposely runs a shower so hot it scalds him and doesn't care about skipping meals. He deprives himself of pleasures in the name of faith, a sort of martyrdom is used to replace vulnerability he may have and shame he has in questioning said faith. 

consumption

There is bread paired with fruit, figs, also being laid out in plain sight around Bellini’s chessboard. They can symbolise the pursuit of truth and peace/prosperity mirroring Lawrence's urge to reach the truth of his cardinal's doings. bread and fruit is offered to Lomeli/Lawrence by Benitez during the reveal of Tremblay’s actions in the cafeteria, in which he asks Benitez “Did I do the right thing, Vincent? What is your opinion?”. Benitez urges him to make peace with what he did, helping guide Lawrence to his own truth. As an aside, Adam and eve use fig leaves to cover themselves after consuming the forbidden fruit, an acknowledgement of sin.

The bowl of tortellini near Tedesco is a simple small reference to Tedesco coming from a “large and hungry family”, eating as though it may be taken from him.

Tedesco keeping his vape in the conclave is a display of his desire triumphing his traditionalist values, relying on new technology and implements to life for his own comfort and want. The black smoke from the chimney merges with the vapour he blows out, showing his downfall and loss of votes after the racist rant that hinged on his conservatism. 

A triangle of tremblay, lawrence, and Woźniak are formed, with bottles of alcohol in between them. The use of alcohol by tremblay to put a mark against Woźniak is one he uses quickly when Lawrence confronts him in the beginning.

the smoke

The rise of the chimney smoke transitions from black to white as it follows Lawrence and the other cardinals up to benitez. Obviously resembling the inconclusive votes up to the final verdict, it also mirrors the colour schemes of Lawrence and Benitez, going against general expectation amongst cardinals of who would ultimately be pope. 

Before surrounding benitez, the chimney smoke meets and mixes with clouds and smoke from the explosions outside of the vatican. From a distance, the rising smoke looks one in the same.