Conclave Review: The Picking of a Pope Becomes Fascinating Viewing — Seriously

Conclave begins with a death, but while the Ralph Fiennes-starring movie isn’t a murder mystery, director Edward Berger’s follow-up to 2022’s All Quiet on the Western Front almost treats it that way. Adapted from the Robert Harris novel, the captivating film brings the viewer into the elaborate rites and rituals that follow the passing of a Pope — the most important of which is, who will be selected as the new Pope?

As the film begins, Cardinal Lawrence (Fiennes) knows one thing: He definitely isn’t interested in the job. As Dean of the College of Cardinals, he just wants to get through the process of overseeing the election of said new Pope (whoever it might be) and get the heck out of Vatican City for a more peaceful posting. However, the incoming Cardinals now vying to wear the fanciest hat in the land aren’t going to make things easy for him, especially as the world outside the Vatican walls is as complicated as ever.

Cardinal Bellini (Stanley Tucci) has a more liberal outlook on the Church, but doesn’t necessarily have the support, while Cardinal Tedesco (Sergio Castellitto), Cardinal Adeyemi (Lucian Msamati) and Cardinal Tremblay (John Lithgow) come from different countries but represent a more conservative outlook. All of them have their secrets, most of which come out in the hours between voting sessions, still conducted via secret paper ballot, and burned after every round.

For those who love details, Conclave glories in the traditions that define this act of succession, from the sealing of the deceased Pope’s chambers to the arrangement of toiletries provided to the visiting Cardinals. Cinematographer Lucian Msamati brings out the beauty of the film’s Roman locations while also leaning hard on close-ups on everything from canisters of colored smoke to the set-up of each Cardinal’s desk to the rich fabrics worn by those in attendance.

For this is both a conference and a pageant, with costume designer Lisy Christl doing essential work in crafting the dozens of zucchettos, birettas, and mitres needed for the cast. (Never thought I’d have reason to look up the names of the hats that Cardinals wear before today, but life is full of wonderful surprises.) And the details of this adaptation extend beyond the superficial to the people involved, specifically the support staff who make any convention of this type possible, especially as that support staff consists of a posse of nuns led by Isabella Rossellini‘s Sister Agnes — who is silent until she speaks louder than anyone.

Everyone, including Sister Agnes, is a soldier in this war, because Conclave, at least initially, never frames the contest for a new Pope as anything other than a political battle between flawed men. This comes in direct contrast to what it’s purported to be — an attempt to discover and elevate true divinity within a human soul. In fact, the question of who might truly be the best spiritual leader for the church barely seems to come up here; it’s all about vote tallies, and who has the support of various cliques with the Cardinal community.

Because of course there are cliques, and of course these guys get catty with each other. Conclave doesn’t dig too hard into the stakes of this election — what it would mean to the people of the world who follow the Catholic faith if a particularly progressive or regressive Pope gets selected. Instead, the focus is on the people involved, and whether or not they pay lip service or true devotion to the process’s supposed aims.

And somehow, it’s all fascinating. It helps that Berger has assembled a truly top-notch ensemble, with Fiennes’ world-weary work anchoring the proceedings. Stanley Tucci electrifies every scene he’s in, while Lucian Msamati, Sergio Castellitto, and John Lithgow all get fascinating and/or devastating moments to shine. By contrast, the relatively unknown Mexican actor Carlos Diehz — playing an equally obscure Cardinal who was invited last-minute to the proceedings — has the least experience of anyone, but represents a brilliant find by the casting team; he ends up becoming an essential part of the puzzle which leads Conclave to its surprising, potentially even shocking conclusion.

Conclave (Focus Features)

The simplicity of Conclave‘s narrative means that it’s easy to assign meaning to it — coming out on the eve of the 2024 Presidential election, for example, can’t help but bring with it some allegorical ramifications. And there’s something exceptionally relatable about Cardinal Lawrence’s attitude, in these hazy not-really-post-COVID times; Lawrence just wants peace, a simple life, free from the backstabbing of Papal politics. (Sounds nice.)

Conclave is rated PG, which is a bit usual for a drama very clearly aimed at an adult audience — despite the rating, I wouldn’t recommend it for kiddos, unless said kiddos really like hats. That rating, though, only highlights the power of Berger’s storytelling, which requires no extreme violence or language or sexuality to keep the audience invested. It doesn’t matter if your knowledge of Catholicism is limited: Watching brilliant actors face off over issues of idealism, pragmatism, and maybe occasionally faith makes for captivating viewing. Conclave even dares to make it a little fun. Which might be its most subversive element.

Conclave is in theaters now.