Conclave (2024): review

Edward Berger's Conclave (2024), based on Robert Harris's 2016 novel, takes us into the secretive process of choosing a pope. Its suspense comes from the ambitions and doubts concealed beneath the ceremony.

After the pope dies, cardinals gather in the Sistine Chapel to elect a successor. Cardinal Thomas Lawrence, played by Ralph Fiennes, oversees the process as dean of the College of Cardinals. Intrigue, personal ambition and closely guarded secrets begin to influence the vote and challenge the moral integrity of those involved.

Berger directs the political drama with precision. Detailed sets and production design make the Vatican setting feel increasingly enclosed. Stéphane Fontaine's cinematography uses light and shadow to express the tensions within the characters as well as the spaces around them.

The acting is outstanding. Fiennes gives Lawrence a deep humanity, making his doubts and inner conflicts convincing. Stanley Tucci's Bellini and John Lithgow's Tremblay bring complexity to competing positions, while Isabella Rossellini gives Sister Agnes a restrained but significant presence.

Volker Bertelmann's music supports the suspense and strengthens the emotional impact without feeling detached from the story. It contributes to an atmosphere in which even a measured conversation can carry considerable pressure.

The film examines power, faith and morality within a religious institution. Its fictional election becomes a way of considering the human weaknesses that persist even at the highest levels of spiritual authority. That is more interesting than treating the setting simply as a place full of mysterious rituals.

Conclave is a gripping thriller, distinguished by strong performances, thoughtful direction and a compelling story. For viewers interested in political drama and institutional intrigue, it is an intense and rewarding film.