If you enjoyed the 2019 film “The Two Popes” and urged others to watch it, you unwittingly supported a dangerous fictional misrepresentation of Church matters.
When film often shapes public perception more powerfully than any textbook or catechism, it becomes necessary to reflect critically on how cinematic portrayals of religious institutions can dangerously mislead even the faithful. This is particularly true when it comes to the inner workings of the Roman Catholic Church—an institution often cloaked in mystery, yet grounded in centuries of doctrine, tradition, and canon law.
One of the most egregious examples of this distortion is found in the The Two Popes, which dramatizes a fictionalized relationship between Pope Benedict XVI and then-Cardinal Jorge Bergoglio, now (deceased) Pope Francis.
While the film may appeal emotionally to viewers for depicting “humanized and relatable popes,” its portrayal of the papal conclave process is not only misleading but is in direct contradiction to the actual procedures set forth by the Church, particularly as codified in Universi Dominici Gregis.
The Two Popes constructs a narrative in which Benedict and Bergoglio meet in private to discuss their theological differences and, more dramatically, to orchestrate the resignation of one pope and the election of the other. Such scenes imply an informal, even democratic process, where ecclesiastical succession is a matter of personal conscience, mutual agreement, or ideological compatibility. This is far from the truth. In reality, the conclave—the process by which a new pope is elected—is governed by the apostolic constitution Universi Dominici Gregis, issued by Pope John Paul II in 1996 and still in effect today. This document establishes strict procedural norms to safeguard the spiritual integrity and independence of the papal election.
According to Universi Dominici Gregis, the cardinal electors are sworn to secrecy under the gravest of obligations. They are secluded in the Sistine Chapel and forbidden any outside contact. There is no room in this process for campaigning, collusion, or political maneuvering—activities implicitly or explicitly suggested by films like The Two Popes. In fact, any attempt to influence the conclave by external pressure or private negotiation is not only illicit but incurs automatic excommunication. The very idea that a sitting pope could confer in secret with a potential successor to discuss the outcome of an upcoming conclave is anathema to Church law and ecclesiology.
This fictionalization becomes especially dangerous when it concerns matters of ecclesial authority and papal resignation. Pope Benedict XVI’s abdication in 2013—the first in nearly 600 years—was a moment of historic gravity and deep theological reflection. Yet the film reduces it to a kind of emotional surrender, encouraged by the humble wisdom of his presumed successor. This emotional rendering may resonate with modern audiences, but it blurs the distinction between spiritual discernment and popular sentiment, between ecclesiastical truth and narrative convenience.
The broader danger here lies not only in misrepresentation but in the erosion of ecclesial understanding among the faithful. When films like The Two Popes replace ecclesial reality with artistic license, they foster a vision of the Church as a malleable human institution rather than the mystical Body of Christ guided by the Holy Spirit. Such portrayals suggest that doctrine is negotiable, tradition is outdated, and authority is just another form of personal opinion—all ideas fundamentally at odds with Catholic teaching.
For the average viewer, especially those unfamiliar with the Church’s legal and spiritual framework, fiction can become de facto truth. Over time, these misrepresentations embed themselves in public consciousness and influence how even practicing Catholics understand the Church. This poses a subtle but profound risk: when the faithful begin to take cinematic portrayals as accurate depictions of sacred events, their grasp of authentic Church teaching and structure is compromised.
Therefore, while the arts can be a powerful medium for exploring religious themes, they also carry the heavy responsibility of truthfulness—especially when dealing with institutions as sacred and hierarchical as the Catholic Church. The Two Popes, though engaging and skillfully acted, ultimately sacrifices truth for drama, and in doing so, misleads the public in dangerous ways. Catholics and non-Catholics alike must approach such films with discernment, always returning to official Church documents like Universi Dominici Gregis for guidance on what truly happens behind the closed doors of the conclave.