We Have a Pope

We Have a Pope (Habemus Papam)

Movie · 2011 · 3 people

Named after the Latin phrase that announces the election of a new pope, We Have a Pope (original title Habemus Papam) comes from director Nanni Moretti, who made the Italian-French comedy-drama in 2011. Moretti shared the screenplay with Francesco Piccolo and Federica Pontremoli, and after opening in Italy in April 2011 the film went on to compete at the 64th Cannes Film Festival. Sacher Film and Fandango produced it, on a budget of about 9 million euros.

When the last pope dies, the cardinals gather in Rome and vote in a new one. But the man chosen, feeling unready, panics and flees before the ceremony that would present him to the public. Michel Piccoli plays Cardinal Melville. The psychoanalyst Brezzi, played by Moretti himself, is called in to help. The pope will not be persuaded and finally escapes the Vatican too, blending into the crowd. Jerzy Stuhr appears as the spokesman and Renato Scarpa as Cardinal Gregori; Margherita Buy and Lucia Mascino are also in the cast.

In his previous film, Il caimano, Moretti took on a fictional subject about Silvio Berlusconi; here he turns his camera on the pope. The film is often described as a tragicomedy. One viewer found the subject well conceived but poorly realised, with a fast, monotonous script.

DirectorNanni Moretti
Production companySacher Film

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Through different eyes

Cinephile Looks at script, editing and directing choices; keeps a distance from formula films.

Nanni Moretti sets the grand ritual of a papal election against the inner world of a man who panics under the weight of the office. The idea is brilliant: the institution's highest seat tested by the most human of fears. Michel Piccoli as Cardinal Melville is the film's centre of gravity, while Moretti himself, as the psychoanalyst Brezzi, supplies the comic vein. Yet the two strands, the waiting inside the Vatican and the runaway pope's experience outside, are not woven tightly enough to feed each other. The tragicomic balance sometimes stalls in an in-between tone that neither quite amuses nor quite moves, and the pace turns monotonous. There is a boldness worthy of the Cannes competition, but the sense of a finished film is missing.

History & Society Lens Asks about the period, the social background and what the work reflects.

We Have a Pope places, at the very heart of one of the world's oldest institutions, the possibility that the chosen man feels unready. It is a question not only about the Church but about any structure where the office is bigger than the person: can someone refuse the role cut out for them? The cardinals' vote, the ceremony meant to present the new pope and the presence of a spokesman make you wonder how unprepared the institution is for one man's hesitation. The pope slipping into the crowd makes the distance between power and everyday life visible. The film seems less interested in mocking faith than in reflecting on responsibility and loneliness.

Yeşilçam Nostalgic A viewer raised on the classics, looking for warm storytelling and strong acting.

At first glance it is a world far removed from Yeşilçam, yet at its core lies a familiar feeling: a person afraid of the responsibility placed on his shoulders. The film, however, struggles to warm the heart; the cardinals' world is distant, and the story speaks more to the mind than to the heart. Still, Michel Piccoli's dignified presence recalls the quiet, deep acting of the old masters. It may feel a little cool to those looking for a warm story; for those who want to reflect on responsibility and humility, it makes a meaningful evening.

These are not reader reviews: they are short editorial takes written from different viewer perspectives with AI assistance. Reader reviews are below.

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