Perhaps the biggest surprise of the year, Edward Berger’s "Conclave" is a taut, cerebral thriller that wades into the murky waters of faith, power, and morality with precision and flair. Adapted from Robert Harris’ novel, the film examines the aftermath of a Pope’s death and the intrigue surrounding the selection of his successor, and it's actually far more interesting than you - or I - may have expected. While the premise is rooted in the Catholic Church’s sacred traditions, "Conclave" unfolds like a modern political drama, blending reverence for its subject with sharp commentary on ambition and institutional decay.
At the center of the story is Ralph Fiennes’ Cardinal Lawrence, a man burdened by the weight of his duty and his own crises of faith. Fiennes delivers a restrained yet deeply emotional performance, adding another masterclass in subtlety to a remarkable couple of years. His quiet turmoil anchoring the film as it spirals into a web of conspiracies and revelations. Surrounding him is an exceptional ensemble cast, each embodying distinct facets of the Church’s complex power dynamics. Stanley Tucci’s Cardinal Bellini is charismatic and cunning, masking shrewd political maneuvering beneath a façade of humility. Meanwhile, John Lithgow’s Cardinal Tremblay exudes a menacing charm, and Isabella Rossellini’s Sister Agnes, a character of profound grace and quiet authority, emerges as a moral and narrative cornerstone.
Berger’s direction amplifies the film’s atmosphere, trapping its characters within the Vatican’s austere, cold interiors. The isolation of the conclave mirrors the claustrophobia of their ideological battles, while the vivid red of the cardinals’ robes punctuates the stark visuals with symbolism: passion, sin, and the unrelenting pull of tradition. These contrasts heighten the tension, as the film oscillates between the sacred and the profane, the personal and the political.
What makes "Conclave" truly compelling is its deft balance of tone and its ability to capture both the good and evil of religion; emphasizing just how polarising it is in todays modern age, yet it never chooses a side, or makes the other feel lesser. It is as much an intellectual exploration of the Church’s enduring struggles as it is a potboiler filled with surprising twists and palpable tension that promises to expose the vaticans corrupt heart. Each character is a vessel for larger themes—the battle between progress and tradition, the fragility of belief, and the personal sacrifices made in the name of duty. Yet, Berger never allows the weighty themes to overshadow the human drama. The characters’ flaws and ambitions feel authentic, making their struggles resonate deeply with the audience.
Ultimately, "Conclave" is a masterful blend of thoughtfulness and suspense, offering both a penetrating look at faith and an edge-of-your-seat thriller. Berger’s ability to combine the pensive with the pulpy, the sacred with the scandalous, ensures that Conclave is not just a film about the Church—it’s a film about humanity, in all its flawed, striving glory.
8.5/10
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