In a very Mean Girl-esque demeanor, Edward Berger attempts to construct a thriller on one of the most ancient traditions in the world, selecting the next pope. 

The aging College of Cardinals has assembled in cliques across a quad following the recent death of the pope. The Cardinals are removed from the bustling modern world into the confines of the Sistine Chapel, launching campaigns for their favorites to assert influence over the Catholic population. Leading the college is Thomas Lawrence, the dean, who is dealing with his uncertainty about his faith as he ascends to helping decide the direction of the future. 

Matching the page-turning nature of its novel source material, director Edward Berger sets up this ancient tradition as a strategic war for the last man standing. Taking out opportunities through gossip and slander like teenage girls, Conclave highlights how even in a respected institution these Cardinals are not afraid to get messy for the chance to control Catholicism. For someone who detests certainty and embraces doubt, as the story continues, even Lawrence becomes comfortable manipulating the outcome of the votes in the name of the papacy. It’s the perfect adaptation of the airport read genre with the tension of a network drama. 

Amongst the candidates, there are four camps of thought. Aldo Bellini, a progressive choice who wants to continue down the road of liberalization, Goffredo Tedesco who thinks the Church should return to a conservative track record, Joseph Tremblay who exudes politician dressed as a meek Cardinal, and Joshua Adeyemi who wins over crowds with his charisma. Not one is actively calling to win the candidacy, except for Tedesco who is very forward about his aspirations, which turns their campaigns into hush-hush conversations beneath stairwells and in close quarters relying on others to spread the word instead on their behalf. 

For all these discussions of the direction Catholicism could take depending on who ends up with the majority vote, Conclave isn’t really about the workings of the religion, it’s a construction of the political maneuvering and backstabbing as words become weapons and lines are drawn in the metaphorical sand. Like an election in a democracy, the choices for who will rule aren’t very inspiring or compelling to voters but it’s measured in a race of who will cause the least harm and can be palatable for the duration of their Popehood.  All potential leaders have something to hide that comes down to which offense is the most egregious in terms of the position they could potentially hold. Is the Pope someone who eventually will become free of criticism and must be a pure soul or the least malicious to take on the godly role? 

Set in a recreation of the Sistine Chapel and a booming score by Oscar winner Volker Bertelmann gives these petty men every moment to fully step into this mythical world of religion. The Vatican becomes their playground to spread rumors and console secrets trying to sabotage those they don’t necessarily feel worthy enough to take on their institution’s highest honor. The most dangerous person is indeed the person who wants to be the Pope but doesn’t the actions of those who have removed themselves from the conversation suggest they might be a little power-hungry themselves?  The story constantly reshuffles the deck at every twist and turn of the vote making the simple process murkier and murkier as it proceeds with Lawrence pulling the strings to uncover the private affairs of his colleagues. Almost universally, people are often not who they say they are as their history unravels, switching up the playing field on where loyalties lie and how it changes the overall picture of this college. The ones we are rooting for and against appear to blend as one with not many differences in their actual nature outside of the greed for power. 

Conclave’s messaging can be too on the nose at times but it adds to the pulpy nature of its shadowy actions seen through the conscience of Ralph Fiennes’ Lawrence. A man who wishes to be free from the shackles of his religion though he doesn’t turn an eye from delving into the juicyness that comes with choosing a Pope as the honor is bestowed upon him. Fiennes, known for playing sly and sexy villains, commands Lawernce in a subtle performance secretly keeping his intentions at bay for the sake of the game.  As a doubter, Lawrence is very aware of the Church’s flailing reputation to the public putting it above the person carefully selecting to halt any additional damage.

Conclave flexes the muscles of customs lining the establishment as ribbons with melted wax close off the past of the previous Pope, inviting something new to break out of the religious confines. While so much conservatism floods the patriarchal chapel, there are specs of modernity fighting to break out as Cardinals have their trusty vape ready to go during breaks from voting and plotting. Berger’s production exercises the dissonance between contemporary and traditionalism with how isolated these men are from what’s happening on the streets surrounding them. It feels silly to use present-day thinking in a centuries-old ritual. 

Berger’s Conclave indulges in the drama and isolation of the Vatican setting to create a classic power trip that evokes the audience’s curiosity about the act of dropping ballots into a container. 

Grade: A

Oscars Prospects:
Likely: Best Actor (Ralph Fiennes), Best Supporting Actor (Stanley Tucci), Best Adapted Screenplay, Best Picture, Best Cinematography, Best Editing, Best Costume Design, Best Picture, Best Original Score, Best Director
Should be Considered: None

Where to Watch: In Theaters