Like many good Lutherans, I grew up going to church and Sunday School, living for the cookies and, later, the coffee hour we’d attend after with our families.  While my churchgoing days are infrequent  (but my coffee and cookie days have stayed consistent), I’ve retained a fascination with religion and, specifically, other religious practices.  In high school, I visited Rome and Vatican City, understanding the energy shift one experiences when entering those walls.  1968’s The Shoes of the Fisherman, and 2019’s The Two Popes are just a few of the titles in cinema that have engaged audiences who, like myself, are captivated by the mysteries within the confines of the smallest independent state in the world.

Exploring faith, power, and moral dilemmas, Robert Harris’ neo-political novel Conclave became a bestseller when it was published in 2016.  Taking readers inside the secretive rituals surrounding the selection of a new pope, the book wasn’t merely a religious drama—it’s a suspenseful theological thriller that grips from start to finish, proving that faith and tension make a surprisingly perfect match.  Now, Edward Berger, the Oscar-nominated director of the 2022 remake of All Quiet on the Western Front, has brought the novel to the big screen, making it into timely and gripping twist-filled entertainment.

When the beloved Pope dies unexpectedly, Cardinal Thomas Lawrence (Ralph Fiennes, The Menu) is put into the delicate position of overseeing the election of a new pontiff.  Within weeks, The Vatican’s most influential collection of cardinals gathers within its sacred chambers to carry out the ancient tradition of the conclave.  However, what begins as a solemn and spiritual journey quickly transforms into something far darker with global implications. Lawrence uncovers hidden agendas, political maneuvering, and a dangerous secret that could change the future of the Catholic Church forever. Already grappling with his faith, Lawrence questions the foundations of the institution he has devoted his life to as he navigates this treacherous landscape.

At the heart of Conclave is Fiennes, delivering a performance that stands among his finest in an already celebrated career. As Cardinal Lawrence, Fiennes balances a quiet, diplomatic poise with deep internal conflict, revealing a character burdened by the weight of centuries-old tradition and the moral complexity of a present world that has evolved outside of the Vatican. Every subtle gesture and glance carries a loaded meaning, drawing the audience into his world of whispered conversations and existential dilemmas.  Fiennes is in nearly every scene in Conclave, and we are his witnesses to events that shock, move, and even inspire.

The ensemble cast surrounding Fiennes is equally impressive, an assembly of layered and compelling performances that elevate the film even further. Lucian Msamati’s (See How They Run) stoic Cardinal Adeyemi is an early front-runner, but will secrets from his past keep him from becoming an essential symbol of forward-thinking for the church?  As Cardinal Tedesco, Sergio Castellitto presents as a genial man of God but brings a fiery intensity when put under pressure.  Cardinal Bellini (Stanley Tucci, Supernova) says he doesn’t seek the papacy, but does that stated lack of ambition mask his true desire for it?  John Lithgow’s (Bombshell) Cardinal Tremblay is a charming but sharp political operator, while newly arrived Cardinal Benitez (Carlos Diehz) is an enigma with real-world knowledge to share with his colleagues.  Rounding out the cast is Isabella Rossellini (Spaceman) as Sister Agnes, a rare female voice in this male-dominated world, offering a grounded, reflective perspective amidst the escalating tension.

Fresh from his acclaimed work on All Quiet on the Western Front, Berger demonstrates his versatility, trading war-torn battlefields for the labyrinthine corridors of the Vatican. Yet, his ability to build tension remains just as potent. Transforming every theological debate and ritual into edge-of-your-seat drama, each quiet conversation and fleeting glance in Conclave carries the weight of centuries of tradition—and the potential for earth-shattering revelation. 

Through Stéphane Fontaine‘s sweeping camera work and careful attention to detail, the ornate architecture and shadowed halls of the Vatican become the perfect setting for a thriller, where ambition and faith collide. The result is a film that, while cerebral, maintains a white-knuckle intensity that keeps audiences fully engaged.  It leads to a finale that will be much discussed and dissected, and all I’ll say is that after seeing the film twice, I feel that it is handled with the utmost grace and awareness of the time and space we currently occupy.

Like Berger’s previous film, technical artistry is key to its success, as are monumental performances and air-tight script.  Lisy Christl’s costume design is impeccable, capturing the crisp pageantry of Catholic tradition while offering subtle insights into the characters, though they are supposed to be seen as one. The slight variations in the cardinals’ dress (their crosses, for example) reflect their personalities and, perhaps, their allegiances.

Production designer Suzie Davies recreates the Vatican with such authenticity and grandeur that every room and corridor feels steeped in history and reverence. The Vatican is not simply a backdrop but a key player in the unfolding drama, adding layers of tension to every scene.  A deserved Oscar-winner for All Quiet on the Western Front, Volker Bertelmann delivers a soundtrack that is at once haunting and propulsive, guiding viewers through the film’s exquisite twists and turns. His music swells and subsides with each new reveal, building suspense in moments of silence and exploding into powerful crescendos when the story demands it.  I can see where it might be a little much for some audiences, but it’s nearly a character unto itself at times, guiding the viewer’s heartbeat with staccato notes and elongated chords.

Conclave is a rare treasure that seamlessly balances intellectualism with the elements of a gripping thriller.  It’s a film that not only appeals to critics but also engages general audiences, asking questions about universal themes that resonate far beyond the confines of Rome.  With a PG rating and a release from Focus Features, this film has the potential not only to nab a slew of Oscar nominations (I predict it will garner the most) but also become a significant box office hit based on word-of-mouth business. 

Commercial appeal can sometimes be looked down on, but Conclave demonstrates that you can offer something to everyone (challenge them, even) without sacrificing artistic integrity.  Detailing a tradition few are privy to, Berger’s film is about more than the election of a pope but an exploration into the hearts and minds of the men tasked with making an important decision and examining the weight of their choice.  Though a work of fiction, I’d like to believe this reflection is a large part of the process, and the backstabbing is less so. 

For those who appreciate the thrill of a slow-burn drama and the intellectual rigor of films that ask big questions, Conclave is a must-see. It’s an absorbing, unpretentious, and, yes, ferociously fun addition to 2024’s cinematic lineup—a divine thriller that blesses its audience with entertainment and contemplation.