Conclave is a captivating political thriller that immerses the audience in the intense and secretive process of selecting a new pope, with exceptional performances from its stellar cast, including Ralph Fiennes, Stanley Tucci, John Lithgow, and Isabella Rossellini. Based on Robert Harris' 2016 novel and directed by Edward Berger, the film balances intrigue, tension, surprising humor, and a powerful message in its parting shot, solidifying it as one of the most memorable viewing experiences of the year.

The story begins with the sudden death of the Pope, throwing the Catholic Church into a period of uncertainty. The College of Cardinals is summoned to Vatican City to start the conclave, the process of selecting a new pope. The conclave rules dictate that the cardinals are sequestered in the Sistine Chapel and its adjoining quarters, completely isolated from the outside world until a new pontiff is chosen. What follows will be days and nights of political maneuvering, with each cardinal harboring personal ambitions, alliances, and, in some cases, dangerous secrets.

At the center of the film is Dean Lawrence, portrayed by Ralph Fiennes, who delivers a performance filled with quiet authority and emotional complexity. Lawrence is tasked with presiding over the election process. Fiennes imbues Lawrence with an optimism that borders on naivete, striving to do what's best for the Catholic Church, trusting in everyone who purports to have no ambition for the papacy. As the election unfolds, Lawrence becomes increasingly aware of the political maneuvering around him, and he is compelled to shift his role from passive overseer to active participant.

Stanley Tucci's portrayal of Cardinal Bellini is one of the standout performances in Conclave. Bellini, a close confidant of Lawrence, understands the inner workings of the man in charge of overseeing the conclave. Knowing that Lawrence favors those who don't covet the papacy, Bellini is eager to play the part of a loyal advisor who seemingly has no desire for power. Yet, through nuanced glances and carefully chosen words, it becomes clear that Bellini is far more ambitious than he lets on. He meticulously sows doubt into Lawrence's mind about other candidates while positioning himself as someone who only wants what's best for the Church. Tucci's ability to present Bellini as a man who doesn't want to be Pope—while making it increasingly clear that he does.

Nearly every Cardinal role in the film is imbued with a certain duality where their overt actions and spoken words can't be taken at face value. And it's what makes each acting performance so impressive, where every line delivered can be interpreted differently depending on the perspective. John Lithgow, Sergio Castelitto, and Tucci are dancing around these nuances beautifully.

The political intrigue at the heart of Conclave is what makes the film so exhilarating. Throughout the election process, it becomes clear that no one can be trusted. The cardinals, bound by their vows of loyalty and faith, often mask their true ambitions behind pious words and friendly alliances. Loyalties shift, friendships are tested, and every conversation carries the weight of potential deception. This constant uncertainty—whether someone is being true to their word or using personal relationships to conceal their thirst for power—creates a palpable tension that keeps the audience guessing until the end. This delicate dance of manipulation and hidden motives makes Conclave such a gripping watch.

Another standout element of Conclave is its subtle yet impactful commentary on gender roles, exemplified by Isabella Rossellini's portrayal of Sister Agnes. Though her role is relatively minor, her presence serves as a quiet but persistent reminder of the gender divide within the Catholic Church's hierarchy. Women, including Sister Agnes, are relegated to the background, often performing tasks highlighting their secondary status. They rarely speak unless spoken to, their voices muted by tradition. Berger's direction masterfully hints at this imbalance without overtly addressing it, allowing the film's visual cues to speak for themselves and allowing Rossellini's poised, understated performance to bubble beneath the surface until the appropriate moment. The restraint Berger employs in bringing these issues to light makes Rossellini'sfinal scenes and the film's conclusion all the more powerful.

On top of all that, one of the most striking elements of Conclave is its visual beauty. Coming off his critically acclaimed All Quiet on the Western Front, Edward Berger once again proves his mastery of creating a visually stunning experience. In Conclave, Berger captures the majesty and grace of Vatican City with sweeping, breathtaking shots of its iconic architecture—the towering basilicas, the awe-inspiring Sistine Chapel, and the grandeur of the papal quarters. The film's cinematography accentuates the religious significance of the conclave, with rays of light filtering through cathedral windows and reflecting off marble floors, lending a heavenly quality to many scenes.

But the beauty of Vatican City in Conclave is not just in its outward splendor but also in its eerie, almost hauntingisolation. As the cardinals are sequestered from the world, the vast halls of the Vatican begin to take on an oppressive quality. The silence and emptiness of the corridors contrast with the rich, ornate surroundings, creating a sense of unease that permeates the film.

Berger's ability to blend beauty and tension is reminiscent of his work in All Quiet on the Western Front, where the ravages of war were depicted with a haunting, almost poetic visual style. In Conclave, he applies the same level of care to his portrayal of the Vatican, transforming it from a mere setting into a character in its own right. The opulent surroundings and the weight of history they carry loom large over the cardinals, adding to the film's atmosphere of pressure and uncertainty.

Conclave is the whole package, a robust film with exquisite visuals, outstanding performances, and a powerful thematic message that honestly left me gobsmacked by the conclusion. I've yet to even mention how surprisingly funny the film is. Our festival audience even erupted in laughter on more than a few occasions. Incredible film-going experience, and it is hands down one of my favorite films of the year.

— 4.5 / 5 ⭐