Writer’s note: The second paragraph of this article (just below the first image) contains a basic outline of the film’s premise. There are no spoilers that weren’t already inferred in the film’s own trailer. However, if you want to completely avoid potential spoilers, skip over the second paragraph.
Films about the papacy aren’t very common, but when we do see them, they always involve themes of murder, mystery, conspiracy and corruption. One would think films of this topic should have less grim subject matter, but here we are. However, we can end up with some fairly interesting films with the right filmmakers at the helm. For instance, a filmmaker such as Edward Berger, who recently achieved great success with his updated adaptation of All Quiet on the Western Front (2022). Despite being a Netflix production, the film was quickly recognised as one of the greatest WWI films ever made, and became one of the most awarded non-English language films of all time. Thus, Edward Berger certainly has the credentials to tackle the papacy set mystery thriller, Conclave (2024).

After the Pope dies of a heart attack, the College of Cardinals assemble for a papal conclave, in which they are tasked to select a suitable successor. The conclave is being overseen by Cardinal-Dean Thomas Lawrence (Ralph Fiennes), who is wary of the moral fibre of each candidate, as well as the papacy as a whole. The four candidates in question are Aldo Bellini (Stanley Tucci), a liberal progressive, Joshua Adeyemi (Lucian Msamati), a social conservative, Joseph Tremblay (John Lithgow), a mainstream conservative, and Goffredo Tedesco (Sergio Castellitto), a reactionary traditionalist. A surprise fifth candidate arrives from Kabul, Vincent Benitez (Carlos Diehz), whom the late Pope apparently made an Archbishop. While trying to make sure the most appropriate candidate is selected, Lawrence discovers that there is some suspicious activity going on which threatens to elevate the most regressive candidates.
On paper, Conclave merely depicts a group of men getting together, and casting votes for or against each other. You’d think that would be as entertaining as watching paint dry, but Conclave is as surprising as it is engaging. All of the various character’s moral beliefs are outlined, questioned and challenged, so the viewer is completely clued into everyone’s strengths and weaknesses. This results in the voting sequences to have as much tension as an action film’s climax. Berger and screenwriter Peter Straughan have taken Robert Harris’ novel, and delivered an easily digestible experience, one which makes you understand what the papacy (and the world) stand to lose (or gain) depending on who is selected as Pope.

As far as the character’s moral beliefs are concerned, Conclave brings up most of the hot button issues audiences are familiar with today. Politics, war, terrorism, race, sex, and of course, religion, are all raised and discussed within the context of each cardinal’s individual stances, making Conclave feel like a particularly brave film in 2024. With the world currently so divided, it’s a challenge to bring up all these topics, and not offend viewers from all sides. This is due to the film’s viewpoint on all these issues being very clear, leaving little interpretation as to what you’re supposed to take from it. However, it’s unlikely Conclave will displease audiences, as it addresses these topical subjects in a very broad and uncontroversial manner.
This is with the exception of the film’s conclusion, which will be a make or break for every viewer. Narratively speaking, it is a brilliant and thought provoking ending which catches you completely by surprise. That being said, it’s not out of nowhere, as it still feels appropriately developed and seeded by the film’s events. Regardless, it may be a bridge too far for some, mainly due to it stretching the realm of what would believably happen in the papacy. Although, given the film’s thematic intentions, one could almost see the ending as a piece of wish fulfilment, forecasting what could become possible for the papacy in the years to come. Even so, this ending is the moment which will tie Conclave to the issues of 2024 forever.

In fact, this may be something that will harm the film in many years, as its analysis is not only broad, but squarely aimed at the present. This means that Conclave may lose its power as time passes, as (hopefully) we will have moved on to other concerns. If we’re still locked into discussions of these specific world issues, Conclave will probably age very well, but that remains to be seen. Without the benefit of hindsight, it’s possible that Conclave won’t become a timeless film, but more of a time capsule of 2024. This isn’t a bad thing, but it is something which could relegate the film into being a one time watch.
Something that does warrant a rewatch is Ralph Fiennes in the role of Cardinal-Dean Thomas Lawrence, which is far and away the best performance in a film packed with outstanding talent. Fiennes conveys an entire spectrum of emotions without ever needing to chew the scenery. Lead performances of this type often result in a lot of over-the-top, showy acting choices, and yet Fiennes is perfectly understated, and thus incredibly hypnotic. The viewer hangs on his every word, movement and action, as we are completely compelled by his journey and mission. Fiennes has been one of cinema’s most incredible performers, in both heroic and villainous roles, yet he hasn’t been appropriately recognised for his work in a long time. It’s very possible that his work in Conclave is enough to finally net him that elusive Academy Award.

All in all, Conclave is a quiet mystery that expertly takes some heavy (and sometimes dry) subject matter, and makes it wonderfully entertaining and compelling in equal measure. It’s another major win for Edward Berger, and cements him as a filmmaker with mastery of intelligent and subtle thrills.
Best way to watch it: Contemplatively.