Directed with precision and flair by Edward Berger (All Quiet On The Western Front) and adapted from Robert Harris’s gripping 2016 novel by Peter Straughan, Conclave is a masterful blend of mystery, political intrigue, and character drama. Anchored by a tour-de-force performance from the always brilliant Ralph Fiennes, the film takes us deep into the corridors of the Vatican, where faith and ambition collide in the wake of a papal death.
The plot centres on Cardinal Thomas Lawrence (Fiennes), a dutiful, introspective leader tasked with overseeing the election of the next pope after the sudden death of the Holy pontiff. What begins as a solemn ritual soon spirals into a taut thriller as Cardinal Lawrence uncovers secrets and scandals surrounding some of the candidates. The arrival of the enigmatic Archbishop Vincent Benitez (Carlos Diehz), who claims to have been made a cardinal of Kabul in secret, adds another layer of mystery to an already complex situation.
Fiennes delivers an immaculate performance, infusing Cardinal Lawrence with a quiet intensity and wry humour that fully depicts him as a man troubled by the recent loss of his faith. His portrayal captures the complexity of a man burdened by duty, self-doubt, and the weight of his Church’s reputation.
The supporting cast is equally stellar. Stanley Tucci shines as the liberal Cardinal Bellini, whose ideological clash with the traditionalist Cardinal Tedesco (Sergio Castellitto) drives much of the film’s tension. Elsewhere, legendary stage and screen actor John Lithgow brings a delicious ambiguity to Cardinal Tremblay, whose secrets hint at larger conspiracies. Meanwhile, Isabella Rossellini is equally impressive as Sister Agnes, the observant and enigmatic housekeeper of the conclave.
Berger’s direction is both sharp and elegant and is more than perfectly suited to the film’s material. Fresh off his Oscar win for All Quiet on the Western Front, he brings a cinematic gravitas to the Vatican’s secretive world. The visual language is exquisite, with moments of ethereal beauty. Yet, the film remains grounded in human drama, playing out like a tense, understated conspiracy thriller. Angel and Demons could only dream to be this cleverly executed.
Straughan’s script deftly balances profound theological themes with incisive commentary on human ambition. The dialogue is both witty and tense, whether it’s cardinals engaging in ideological sparring or Lawrence quietly piecing together the truth about his peers. The film doesn’t shy away from its inherent silliness by leaning into the spectacle of its pomp and ceremony with a tongue firmly in cheek.
The third act delivers a series of twists that are as shocking as they are satisfying, tying the film’s themes of faith, power, and morality together with jaw-dropping precision. But it’s Ralph Fiennes who makes it all look so effortless. His performance here is nothing short of magnificent, anchoring the film with a magnetism that’s impossible to look away from. Mark my words, this film will be a major player in next year’s awards race.
