Being an election year, 2024 was bound to bring us a few politically charged dramas. In an unlikely twist, the most intense political thriller of the year isn’t about politicians, but priests. Conclave could just as easily be called Congress. The characters in Edward Berger’s adaptation of Robert Harris’ novel find themselves at a crucial turning point. One path leads forward. The other risks to undo years of progress. This critical election sparks backstabbing, coverups, and lies that traverse a morally gray area the Ten Commandments didn’t define especially well. Such deceit is in the name of the greater good, although every member of the conclave has a different definition.
It seems like Ralph Fiennes has spent most of his career being typecast as a villain. While few channel evil better than Fiennes, his nuances as an actor can be gravely underappreciated. He delivers one of his most layered performances as Cardinal Thomas Lawrence, who’s charged with arranging an election following the pope’s death. Although there isn’t a clear frontrunner, several candidates stand out. Lawrence favors Cardinal Bellini (Stanley Tucci), who is uncompromising in his liberal beliefs. This also makes him an unpopular pick among a largely conservative voting body.
Bellini isn’t willing to fight for the position, feeling it would be better to back the lesser of two evils. Among the other contenders are Cardinal Adeyemi (Lucian Msamati) and Cardinal Tremblay (John Lithgow), both of whom are concealing scandals. The late pope also went to his grave with more than a few secrets. Although overshadowed by her male superiors, Sister Agnes (Isabella Rossellini) is a powerful presence. She’s practically indivisible to others, which is her most valuable attribute. Agnes knows almost everything that goes on within these walls. She can either turn a blind eye or speak out, sealing a person’s fate.
At the center of everything is Cardinal Lawrence, who’s also in the running for the job. Lawrence has no interest in being the pope, as his faith has begun to wither. Even so, Lawrence understands the influence that the pope has and wants to elect the best person for the position. He may need to compromise his ethics to ensure the church is in good hands, however. Lawrence finds that the Catholic Church is like a turtle slowly making its way to a pond. You can wait for it to crawl there, but if you’re in a position to point the turtle in the right direction, intervene.
Some might compare Conclave to The Two Popes, although there are a few differences. Where one is grounded in history, the other is a work of fiction that feels uncannily authentic. The Two Popes naturally revolved around a duo with conflicting ideals, but a mutual devotion to God. Conclave is more of an ensemble piece with Fiennes leading a cast that gets so much across with fleeting expressions. Just as much is conveyed through Volker Bertelmann’s haunting score, Stéphane Fontaine’s divine cinematography, and Peter Straughan’s invigorating dialogue. Straughan’s script builds to a twist that easily could’ve backfired and might not work for every audience member. Yet, the outcome falls in line with the film’s overarching theme: whether or not you believe God has a plan, we have the power to bring about change.