‘Conclave’ Review – Ralph Fiennes Leads Thrilling Search For The Next Pope [TIFF 2024]

You know how they say politics is a universal language? Well, Edward Berger’s Conclave suggests that even in the hallowed halls of the Vatican, that language is spoken fluently. It’s fascinating to see how the pursuit of power—even spiritual power—can look remarkably similar whether you’re running for office or vying for the papal throne.

Fresh off his Oscar win for All Quiet on the Western Front, Berger makes his English-language debut with Conclave, bringing that same knack for tension to St. Peter’s Basilica. The film, adapted from Robert Harris’s novel of the same name, opens with the death of the Pope, a figure who helped nudge the Church into the 21st century (or, at least, closer to it). His passing sets the stage for the age-old tug-of-war between tradition and progress, as cardinals from across the globe gather to elect a new pope. Cardinal Lawrence (Ralph Fiennes), a man torn between grief, duty, and his own crisis of faith, is chosen by the late Pope to oversee the election of his successor. The process is meticulous, secretive, and intense.

We’re introduced to a cast of potential successors vying for the coveted position. Frontrunners include Lawrence’s close ally, the progressive American Cardinal Bellini (Stanley Tucci), Cardinal Adeyemi (Lucian Msamati), who holds more traditional views, and the ultra-conservative, bigoted Tedesco (Sergio Castellitto). Caught in the middle is John Lithgow’s Cardinal Tremblay, presented as the safe choice—a nod to the often-messy reality of compromise in any political system, religious or secular. There’s also a wildcard dealt into the game via the unexpected arrival of Cardinal Benitez (Carlos Diehz). No one knew Benitez, who was handpicked by the late Pope, even existed, and his presence adds a layer of unpredictability to the proceedings.

This brilliantly sets the stage for a story that’s as much about personal ambition as it is about the future direction of one of the world’s oldest institutions. It’s a carbon copy of the broader struggles we see in society, played out in the ornate halls of the Vatican. On paper, it doesn’t quite get the blood pumping. Cardinals electing a new pope? Eh. Sounds kinda boring. But, it turns out Conclave is smart, suspenseful, and a far cry from stuffy.

As ballot after ballet is taken, no clear majority emerges—even Dean Lawrence garners some unexpected votes, despite his disinterest in the position. The Vatican, scarred by past scandals, has turned to O’Malley (Brian F. O’Byrne) to vet the candidates. And, of course, skeletons are found. Just as Cardinal Adeyemi begins gaining favor, a scandal emerges, the timing suspiciously convenient. Throw a mysterious meeting between the late Pope and Cardinal Tremblay into the mix, and we’ve got ourselves a proper Vatican intrigue. As the conspiracies unfold, Sister Agnes (Isabella Rossellini) watches from the sidelines—a reminder of the Vatican’s deeply entrenched gender imbalance, her silence a testament to centuries of institutional constraint. But when her moment comes, it’s powerful, and I truly wish she had more screen time. 

Conclave’s nail-biting script and superb ensemble make this high-stakes political thriller one of the year’s most compelling films. The dialogue crackles with intensity, and Berger turns what could have been a claustrophobic, talk-heavy film into a divine delight. Stuffed with scandal, sharp humor, and unexpected twists (seriously…the audience was screaming), Conclave could’ve been a dry affair but instead, it’s compelling and memorable.

The film’s pacing is deliberate, letting tensions simmer in hushed conversations and meaningful glances. Fiennes truly shines in these moments, a portrait of internal conflict—duty-bound but increasingly doubtful. Stanley Tucci and John Lithgow are also exceptional. Lithgow, in particular, gives us a Cardinal Tremblay who’s delightfully Machiavellian. And Diehz delivers a strong debut performance.

Berger’s direction is impeccable, balancing the grandeur of the Vatican with intimate character moments. He doesn’t shy away from the Church’s controversies either, weaving them organically into the narrative. Volker Bertelmann’s score is another highlight—it doesn’t just accompany the action; it amplifies the tension, making even quiet moments feel charged with possibility.

Berger and writer Peter Straughan have pulled off quite a feat, crafting a clever Vatican drama that’s a feast of scheming and veiled ambitions, all playing out under the guise of sacred tradition. What’s striking is how they’ve captured the essence of power dynamics we see in any high-stakes election, just in a different setting. The backroom deals, the flashes of idealism, the pageantry of it all—it’s all there, cloaked in regal robes instead of campaign slogans. There’s a certain irony in how the film juxtaposes the weighty impact of these decisions with the sometimes self-serving nature of the process. It’s a reminder of how easy it is to get caught up in the spectacle and forget the real-world consequences.

In a time when many of us are feeling election fatigue, Conclave offers an unexpected respite, allowing us to process our own political anxieties through this lens of Vatican politics. It’s cathartic in a way. A line about picking the least worst option certainly sparked some knowing laughs during my screening. The film manages to comment on current events without explicitly addressing them, giving us a mirror that’s both foreign and unnervingly familiar.

The film also taps into this universal experience of grappling with change, whether it’s in a grand institution like the Catholic Church or in our own lives. It’s a reminder that even in the most rarefied circles, the human elements of ambition, idealism, and the fear of obsolescence are always at play.

Now, while Conclave might take some creative liberties with reality, its attention to detail is pretty impressive. The way they show the rituals around the Pope’s passing—removing the ring, sealing the apartment—it’s like getting a behind-the-scenes look at a world most of us never see. And visually? It’s stunning. Berger clearly knows how to make history feel alive and immediate.

As the film builds to its climax, complete with unexpected twists, you’ll find yourself perched on the edge of your seat. Conclave manages to be both a gripping political thriller and a thoughtful exploration of faith and power. Compelling story. Outstanding performances. This is one satisfying watch that is worthy of being an Awards contender. 

Conclave held its International Premiere as part of the Special Presentations section at the 2024 Toronto International Film Festival. The film will debut exclusively in theaters on October 25, 2024, courtesy of Focus Features. 

Director: Edward Berger

Writer: Peter Straughan

Rated: PG

Runtime: 120m