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We Have a Pope (2011)
"Habemus Papam" (original title)

 -  Comedy | Drama  -  15 April 2011 (Italy)
6.7
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Ratings: 6.7/10 from 9,103 users   Metascore: 64/100
Reviews: 31 user | 162 critic | 25 from Metacritic.com

A story centered on the relationship between the newly elected Pope and his therapist.

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Cast

Cast overview, first billed only:
...
Jerzy Stuhr ...
Renato Scarpa ...
Franco Graziosi ...
Camillo Milli ...
Roberto Nobile ...
Ulrich von Dobschütz ...
Gianluca Gobbi ...
...
...
Camilla Ridolfi ...
...
Dario Cantarelli ...
Manuela Mandracchia ...
Rossana Mortara ...
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Storyline

At the Vatican, following the demise of the Pope, the conclave to elect his successor settles on Cardinal Melville. But the faithful gathered in St Peter's Square wait in vain for the new Pope to step out on the balcony. What is going on? Behind the thick walls of the Vatican panic has set in. After uttering a terrible howl of fear, the Cardinal refuses the office. The officials do everything to try to reason with Melville, including a psychoanalyst, appointed by the Vatican... Do we really have a Pope? Written by Guy Bellinger

Plot Summary | Add Synopsis

Genres:

Comedy | Drama

Certificate:

Not Rated | See all certifications »
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Details

Country:

|

Language:

| | | | | |

Release Date:

15 April 2011 (Italy)  »

Also Known As:

Ehoume Papa!  »

Box Office

Opening Weekend:

$31,368 (USA) (6 April 2012)

Gross:

$480,926 (USA) (8 June 2012)
 »

Company Credits

Production Co:

, ,  »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Connections

Referenced in Ebert Presents: At the Movies: Episode #1.18 (2011) See more »

Soundtracks

Todo Cambia
Written by Julio Numhauser
Performed by Mercedes Sosa
Courtesy of Universal Music Italia
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User Reviews

 
Imperfect but deep and perceptive
6 July 2012 | by (Bangkok, Thailand) – See all my reviews

This film has had a very diverse range of reviews, and this is probably because its full appreciation requires a finger on the pulse of the Catholic world.

Moretti makes a statement about the current state of the Church, which behind its omnipotent facade seems to be unable to truly face the challenges of remaining relevant to its followers. Rather than set up an intricate political plot of intrigue and betrayal, Moretti chooses to represent this powerlessness through a single person, an unassuming cardinal who feels unable to take on the responsibility. At the same time, though, he reveals that the state of unease is widespread among the cardinals, who dread the thought of having to take on this leadership, as much as the thought of losing their leader.

A banal way forward would have been for the cardinals to turn against each other, or against the Pope; instead, here they find relief in reverting to games and simple everyday activities, as if the isolation inside the Vatican walls is lifting an unbearable oppression from them, as they can do normal things as normal people do.

The film has several imperfections, and one feels sometimes the story gets somewhat contorted, especially when the new Pope rekindles his old love for the theatre. Still, it is a visually attractive film, sensitively scripted and well acted.

This is a surprisingly sympathetic film made by a non-believer who is often critical of the Church. Moretti is appreciative of the magnitude of the problem faced by the church, but most of all one has the impression that he cares deeply about the people involved: those on the balcony, those behind the curtains and especially those down below, in the square.


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