Summary: At first glance, Conclave and Anora seem to belong to entirely different cinematic realms. One is a tense political-religious drama about the secretive election of a new pope. The other is a raw and darkly comedic exploration of a young woman navigating the unpredictable world of sex workers. However, beneath their disparate settings and tones, both films explore the nature of power.
Dear Dr. Sylvia,
I recently looked at the contenders for this year’s Oscar awards..
I was curious to see if I could find some themes that resonated in all the films.
The settings of Anora, the story of a sex worker in New York’s Brighton Beach, and Conclave about choosing the next Pope, set in the Vatican in Rome, are very different. Yet, the underlying themes of power and conflict are evident in both excellent films.
I always look for new ways to think about leadership and professional and personal growth.
Therefore, it would be great to hear your thoughts regarding the similarities of the key actors in each film.
I cannot think of anything more diverse than a sex worker and a Catholic Cardinal struggling with similar issues.
Looking forward to your comments.
Signed,
Always Learning
How We View Power Comes From Family, Culture, and Crises
Dear, Always Learning,
At some point, we must examine our place in the larger society. How our families, the culture we grew up in, and various societal or personal crises helped us grow or held us back.
We also look deeply into our respective smaller personal worlds in our own way.
That means we all address power, communication, conflict, adaptability, and the willingness to search for and speak the truth.
Here are valuable lessons from each film, looking at power and truth through different lenses.
Personal Power in Conclave: The Illusion of Choice
In Conclave, personal power exists within an ironclad institutional framework.
Here, centuries-old ways of being and responding dictate how those in power in the Church behave. The cardinals convening to elect the next pope may wield significant influence.
Yet, their centuries-long culture is one of tradition, secrecy, and internal politics.
At the film’s center, Cardinal Thomas Lawrence, played masterfully by Ralph Fiennes, is to oversee the election. Initially appearing to be an objective facilitator of the process, it becomes clear that his role is far more precarious.
In fact, every decision he makes—whom to align with, which secrets to expose, whether to uphold or challenge tradition—tests his own moral convictions.
His power is not absolute, but rather, it is the power to influence within strict boundaries.
This reflects a broader reality: in institutions built on hierarchy, power is often an illusion. The most influential figures still play within predetermined rules, even when they believe they are making independent choices.
The cardinals’ struggle for control is less about direct power and more about strategic maneuvering—knowing when to push, when to yield, and when to conceal.
Yet, by the end of the film, a stunning revelation about one candidate’s true background forces the entire assembly to confront the limits of their authority. Can a rigid system truly contain the unpredictable force of human will?
Personal Power in Anora: Reclaiming Control in a Chaotic World
In stark contrast to Conclave, Anora presents a protagonist who has no formal authority, no structured power, and no institutional backing. Yet, her journey is one of raw, unfiltered self-assertion.
Anora, played by Mikey Madison, begins the film as someone seemingly powerless—a sex worker in Brooklyn who impulsively marries the son of a wealthy Russian oligarch.
What follows is not the traditional “and they lived happily ever after” but a wild, darkly comedic, and often terrifying ordeal entangled in the power struggles of a wealthy Russian family.
Unlike the cardinals in Conclave, Anora has no tradition, wealth, or status to wield as leverage. However, she does have something that the church figures lack—adaptability and personal resilience.
Where the cardinals must work within strict rules, Anora can shift, pivot, and reshape her circumstances in real time.
As chaos unfolds around her, Anora learns that power is not always about position but about perception and persistence. While others see her as expendable—a mere pawn in a larger family drama.
She gradually asserts control over her fate. She learns when to play along, when to deceive, and when to fight back.
While we only have tidbits about her family, it is clear she had very little guidance. She was always “looking for love in all the wrong places.”
Yet, she grows strong by defying her wealthy in-laws. Her power is found in her refusal to accept the roles others impose on her. She defies the criminal empire that seeks to control her. Then, she continuously makes choices that shock those around her.
This is a master class in reclaiming autonomy.
Comparing Their Journeys: Power Within vs. Power Outside the System
Both Conclave and Anora show that power is never static—it shifts depending on context, circumstance, and character.
- In Conclave, power is structured and constrained. It is the art of negotiation, the ability to play the long game within an institution. The cardinals cannot escape their system; they can only maneuver within it.
- In Anora, power is fluid and personal. Anora has no institutional backing, no official title. Her only power is her will to survive, outwit, and endure. She doesn’t maneuver within a system—she rejects it entirely and forces her own path.
In essence, Conclave examines how power functions within a rigid framework, while Anora demonstrates how someone with seemingly no power can create it from nothing. One film is about navigating rules, while the other is about breaking them.
The Final Question: Who Holds the Real Power?
By the end of both films, audiences are left questioning what true power looks like. Is it the ability to shape institutions from within, as seen in Conclave? Or is it the capacity to seize control of one’s own narrative, as Anora does?
Both films offer compelling arguments. Some will see the institutional influence of the cardinals as the ultimate power. Others will argue that Anora’s refusal to be controlled represents something even more potent—freedom.
Regardless of the answer, Conclave and Anora prove that power is not always where it seems to be. Whether in the hallowed halls of the Vatican or the backrooms of Brooklyn’s underworld, the battle for control is universal.
In both cases, the winners are those who understand the game and dare to play it on their own terms.
How have you claimed your power at work? When did you stand against corruption or those who fracture the truth for their good? Let’s discuss and grow together.
To your success,
Sylvia Lafair
PS. In my new book, which is currently under construction, I want to include some life stories about how power is developed to help us grow and learn. Don’t hesitate to contact me for more information.
