Conclave (2024) Review!!

Synopsis – Cardinal Lawrence is tasked with leading one of the world’s most secretive and ancient events, selecting a new Pope, where he finds himself at the center of a conspiracy that could shake the very foundation of The Church.

My Take – Irrespective of the religion you follow, the death of a pope and the subsequent election of a new one is indeed a worldwide news event that pretty much dominates everything outside the walls of the Vatican. Right from the arrival of the main candidates, to the conclave and the election, the public follows everything with great interest.

For his latest feature, director Edward Berger, fresh off his Oscar-winning All Quiet on the Western Front (2022), takes us behind the Catholic Church’s most secretive traditions and serves it up as a good old fashioned serious-minded, tension-packed, big drama featuring excellent performers.

With its claustrophobic setting and opulent design, that is filled with political in-fighting, twists, turns and surprises galore, the result is a welcome crowd-pleaser that deserves all the Oscar hype it is generating.

Written by Peter Straughan (Tinker Tailor Soldier Spy), who adapts from the 2016 Robert Harris novel, the screenplay meticulously crafts an atmosphere of suspense where every whispered conversation, every secretive glance, is charged with the gravity of the election’s outcome. Every minute unfolding with the precision that echoes the heartbeat of the Church itself.

This not just a film, it’s an experience that invites you into the heart of one of the world’s largest institutions and leaves you questioning, pondering, and ultimately, admiring the artistry on display. Making it perhaps the best film of the year.

The story follows Cardinal Thomas Lawrence (Ralph Fiennes), the dean of the College of Cardinals, who following the death of the pope, must take responsibility for a longtime tradition: gathering the many cardinals from around the world; sealing them off from outside influences; and voting, via secret ballot, as many times as is necessary until a majority is reached, while a crowd watches outside for a decision to be signaled by a telltale puff of white smoke.

Among this College of Cardinals are Aldo Bellini (Stanley Tucci), a soft-spoken progressive who denounces homophobia and promotes a greater role for women in the church. Though an early favorite, as a much-beloved friend to the last pope, Aldo faces off against the ultra-conservative Tedesco (Sergio Castellitto), whose agenda is to push the church back into the dark ages with a Latin mass and a vehement rejection of cross-faith acceptance.

Also in the mix is the suspiciously conciliatory Tremblay (John Lithgow), the fiery Adeyemi (Lucian Msamati), and Benitez (Carlos Diehz), a young cardinal who is totally unknown to the others until the conclave. While Lawrence strives to conduct the conclave with dignity, but as shocking details about his brethren surface, he finds his idealism challenged with pragmatism.

The film highlights the nitty-gritty details with precision, showing how a new Pontiff is selected among a sea of humble or eager Cardinals ready to rule the most significant global Christian denomination. Power plays, corruption, and political stunts are all present as these Men of God bungle the process of picking their next leader. Importance of the mission and tradition pale in comparison to ego and self-interest.

Here, director Berger opts to show us very little of the actual negotiations, and instead puts the various iterations of loyalty on display during each successive secret (of course) vote. The film isn’t just about the election of a Pope; it’s a microcosm of power, tradition versus modernity, and the human condition. The film tackles these themes with a deft hand, never preaching but always prompting thought.

The best part is how German filmmaker Berger directs the film like it’s a thriller. Building with relentless intensity, slowly, but surely, twisting the screws as it goes. Its premise is banal enough, but it sows the seeds of doubt from the outset, employing plenty of misdirection along the way as you work through all the suspicious players, soon forgetting that they’re Cardinals, not murder suspects. The elegant efficiency with which director Berger unravels the conspiracy is masterful.

Milking every last drop of tension and intrigue from Harris’s story, with cinematographer Stéphane Fontaine’s camera work picking up on the eye daggers the rival faction’s fire at each other across the refectory. Equally effective is the ramped up use of sound, which amplifies Cardinal Lawrence’s labored breath and scuttling footsteps, and the forceful, emphatic score by Volker Bertelmann.

Yes, the final twist may be a bit out of proverbial left field, but in a room filled with secrets, perhaps that’s as it should be. To balance the tension and seriousness, the film is also sprinkled with the subtle humor that mostly comes as a welcome addition.

The cast alone is reason to line up for. Ralph Fiennes delivers what may be his best performance yet. And that’s saying something for the much-respected actor. He is terrific as the moral center of the film. He has many competing interests to balance with differing Cardinal factions and his own ambitions. His best moment is when he delivers an exceptional Jesuit-adjacent monologue.

It helps that he is supported by Stanley Tucci, John Lithgow, Sergio Castellitto, Lucian Msamati, Carlos Diehz and Isabella Rossellini who are all excellent in their respective roles. On the whole, ‘Conclave’ is a terrific, sophisticated and sharply enthralling thriller that entertains, provokes, and lingers long after the credits roll.