Designing the Secretive World of Conclave

Designing the Secretive World of Conclave

Conclave is more than a gripping political thriller, it takes us behind the locked doors of one of the world’s most secretive rituals—the election of a new Pope. Set within the Vatican’s hallowed halls and the imposing Sistine Chapel, the film is a masterclass in creating atmosphere with design. And, just as importantly, knowing when to leave things alone. In conversation with Suzie Davies, the visionary production designer behind the film, we explore the thought process, creativity, and intricate design details that shaped the world of Conclave.

Take a read below, watch the video interview for more insights, or listen on our brand new Film and Furniture podcast via Spotify, Apple Podcasts and all your usual platforms.

conclave marble tile floor
Conclave, a Focus Features release. Credit: Courtesy of Focus Features. © 2024 All Rights Reserved.

“It was a gift,” Suzie Davies reflects on working with Conclave‘s director Edward Berger, whose meticulous eye impacted the film’s design. But Conclave isn’t just about power struggles—it’s about the unspoken forces at play behind sacred rituals, where ancient architecture collides with contemporary design elements, creating a striking contrast that keeps us on edge. The film’s design, from the contrasts in architecture to its minimal colour palette, is an intricate dance of light and shadow.

Davies, whose career spans decades, explains how blending these dualities was crucial to the storytelling. “We had these grand, ornate spaces, but we wanted to play with a world where ancient and modern elements collide. There was a real effort to create spaces that were as atmospheric as they were meaningful,” Davies explains. The result is a world where every film set piece feels both historical and immediate, where the past and present echo in every detail.

Behind closed doors: Recreating the Vatican’s sacred spaces

A key challenge? Recreating the Sistine Chapel—something that not only couldn’t be filmed in, but required a unique approach to its very design. “We couldn’t film in the Vatican, of course,” Suzie explains. “But we were lucky enough to work with some brilliant craftspeople at at Cinecittà Studios in Rome to bring it to life.”

recreation of the sistine chapel for conclave
The Sistine Chapel in Conclave. Credit: Courtesy of Focus Features. © 2024 All Rights Reserved.

Cinecittà, the storied Italian film studio, has seen the likes of Fellini, Antonioni, and Rossellini work its hallowed floors. “You feel the history as soon as you step in,” Suzie says. “It’s inspiring, and you feel the weight of that legacy on your shoulders.”

The studio had an existing set from a previous production that had captured the essence of the Sistine Chapel, but it was far from a straightforward job. “It was a massive rebuild,” Suzie recalls, with CGI used for the ceiling due to space constraints. Craft was key—restoring this sacred space to perfection while giving it a cinematic flair.

conclave production design
(L to R) Brían F. O’Byrne as Cardinal O’Malley and Ralph Fiennes as Cardinal Lawrence in director Edward Berger’s Conclave, a Focus Features release. Credit: Courtesy of Focus Features. © 2024 All Rights Reserved.

The Casa Santa Marta: A “posh prison”

conlcave casa santa isobella header film and furniture
Isabella Rossellini as Sister Agnes in director Edward Berger’s Conclave, a Focus Features release. Credit: Courtesy of Focus Features. © 2024 All Rights Reserved.

Another memorable set from Conclave is the Casa Santa Marta, a guesthouse for visiting clergy that’s far from a welcoming sanctuary. “I wanted it to feel like a posh prison,” Suzie admits, referencing the clinical marble corridors and the austere, minimal design that permeates the space. The space’s oppressive atmosphere is enhanced by stark, symmetrical lines and the use of grey and white marble, paired with touches of deep red.

Design details of the Casa Santa Marta film sets in Conclave
Design details of the Casa Santa Marta film sets in Conclave

“The red symbolises the blood of martyrs and the fire of the Holy Spirit,” says Suzie. “It’s a colour of power, of life and death.” In Casa Santa Marta, the use of red becomes symbolic of the intense pressures faced by the Cardinals locked away in this institution. From the stark, prison-like windows with their small square openings to the muted lighting, everything in the Casa Santa Marta is designed to evoke secrecy, isolation, and the heaviness of the moment.

Modern meets ancient

The design philosophy behind Conclave thrives on contrast, blending traditional architecture with bold modern influences. “We incorporated 20th-century Italian fascist architecture—the sharp edges, the graphic lines—into the spaces where we see the Cardinals navigating,” explains Suzie. “It’s a juxtaposition of light and dark, male and female, ancient and modern, that really drives the tension in the film.”

A striking example of this contrast is the carefully chosen furniture throughout the sets, which plays a significant role in grounding the film’s modern yet historical atmosphere.

conclave white marble in the EUR district of Rome film and furniture
Conclave: White marble columns filmed in the EUR district of Rome.

Classic design pieces, such as the iconic modernist armchairs and sofas by Le Corbusier, Pierre Jeanneret and Charlotte Perriand, as well as the legendary Arco floor lamp by Achille and Pier Castiglioni, were selected by Suzie and set decorator Cynthia Sleiter. These pieces serve as key elements that add modernity and texture to the otherwise austere spaces. “We wanted to anchor the film in a space where the Cardinals, while deeply entrenched in tradition, are also part of a modern world,” Suzie says.

conlcave modernist furniture
Modernist furniture and lighting in Conclave

Achieving this balance isn’t just about filling the space—it’s about knowing when to step back. “You have to know when to leave something alone. In the theatre, there’s a fine line between creating something powerful and overloading it. Sometimes, subtlety speaks louder than excess.” This philosophy was crucial in ensuring that every design choice in Conclave felt intentional, without overwhelming the story.


Intermission: Furniture focus

The LC armchairs and LC sofa, were originally designed in 1928. These timeless pieces feature sculptural shapes, comfortable armrests, and chromed tubular steel frames that support leather seats. With their machine-age materials and lack of ornamentation, these armchairs and sofas embody the refined functional aesthetic championed by their designers Le Corbusier, Perriand, and Jeanneret. The LC2 is a more compact, refined design with smaller cushions, while the LC3 is larger and bulkier, offering a more substantial and comfortable appearance.

The Arco floor lamp, inspired by an urban streetlight and designed by Achille and Pier Castiglioni in 1962, has become an iconic piece. Crafted from sleek stainless steel, aluminium, and beautifully textured white marble, this luminary’s large, arching stem creates a sweeping profile, providing both dramatic lighting and a touch of elegance. It’s a piece that works perfectly in spaces as varied as a living room, dining room, or even a sacred interior, as seen in Conclave.


A textural feast

conclave room of tears film and furniture
Conclave: The Room of Tears

The film’s bold yet minimal colour palette would be nothing without texture. As a storytelling device, texture brings the world of Conclave to life—from the rugged, textured walls in the Room of Tears (filmed in a run-down farmhouse) to the sleek, marble floors in the Casa Santa Marta, texture takes center stage.

The red walls in the Room of Tears, in particular, are crafted with a careful balance of warmth and depth, creating a sense of both intensity and intimacy: “I wanted the it to feel like a womb—soft, protected, but also charged with the weight of what’s to come,” she says. The deep red not only sets the tone but amplifies the emotional gravity of the film’s most intense moments.

Craftsmanship and passion

the design and craft of conclave
The design and craft of Conclave

Working with Italian craftspeople was a key part of the process. “The craftsmanship in Italy is second to none,” says Suzie. “We had a team of artists who brought passion and skill to everything, from restoring the Sistine Chapel to adding the finishing touches to a door.” For Suzie, this was more than just creating sets—it was about crafting an experience for the audience. The attention to detail was paramount, ensuring that even faux-marble walls in the Casa Santa Marta looked as if they were centuries-old.

A world built on contrast and detail

At its heart, Conclave is about contrasts—of power and vulnerability, tradition and modernity, isolation and connection. “We wanted to show the Cardinals outside of their comfort zones,” Suzie says. “By placing them in stark, modern spaces, their power felt more fragile—and their secrets even more dangerous.” The result is a visually stunning film that invites the audience into the hidden world of the Vatican, revealing both its grandeur and fragility.

 

With a growing list of awards nominations rolling in, Conclave is quickly becoming a formidable contender for 2025’s Oscars. Its breathtaking production design is a key reason why. Suzie Davies and her team have crafted a cinematic world as intricate and compelling as the story itself, capturing the tension, drama, and hidden secrets that lie behind the Vatican’s closed doors.


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