15 Sep TIFF REVIEW – ‘Conclave’ is a taut, meticulously crafted thriller and a masterclass in subtlety and tension
The quest to elect a new Pope doesn’t sound like it would make for particularly gripping cinema. Think again, folks. Edward Berger’s masterful Conclave turns the solemn, ritualistic Vatican setting into a stage for tension, moral ambiguity, and unexpected twists and shocks, making it 2024’s most thoughtful thriller. With a sharp script that brings out the political intrigue beneath the façade of devout unity and powerhouse performances from a stellar ensemble cast led by an Oscar-worthy Ralph Fiennes, Conclave brilliantly explores how ambition, secrecy, and faith interweave in this cloistered environment. From its hushed conversations to bold confrontations, Berger finds a way to build atmosphere without resorting to typical thriller clichés, achieving an absorbing blend of suspense and subtlety.
The film opens with the sudden death of the beloved Pope, and the Vatican hierarchy assembling in seclusion to elect his successor during their infamous papal conclave procedure. The process should be straightforward, with the introspective yet quietly commanding Dean of the College of Cardinals, Cardinal Lawrence (Fiennes) assigned to oversee the voting operation. But there’s already a complication with the last-minute addition to the conclave of Cardinal Benitez (Carlos Diehz), a little-known archbishop from Afghanistan who was only recently secretly made a cardinal by the late Pope.
Almost immediately, four candidates establish themselves as the leading candidates. Despite his own reluctance, American liberal Cardinal Bellini (Stanley Tucci) is the favourite choice of many, given his progressive views closely align with the late Pope. Nigerian conservative Cardinal Adeyemi (Lucian Msamati) and Canadian moderate Cardinal Tremblay (John Lithgow) are seen as more conventional options. However, the real frontrunner appears to be Italian traditionalist Cardinal Tedesco (Sergio Castellitto), who believes the church has become too modern and campaigns on a platform of returning to the old ways.
As the conclave progresses and cryptic hints about the late Pope’s hidden life emerge, the underlying motives and rivalries of the cardinals soon rear their heads. Lawrence must navigate the ideological and political divides among the cardinals, making his way through murky waters where loyalty to God and church are in constant tension with human flaws. With the aid of the head caterer Sister Agnes (Isabella Rossellini), Lawrence finds himself embroiled in rumours of a potential scandal that could fracture the Church at its core.
Fiennes is at the height of his powers here, masterfully delivering a career-best performance with a restrained yet deeply affecting turn that captures the moral conflict at the heart of Lawrence’s journey. Fiennes is simply impeccable, grounding the film with a sense of gravitas and emotional nuance that serves as the perfect counterweight to the political maneuvering surrounding him. His Cardinal Lawrence is not just a witness to the power struggle; he is both anchor and observer, often finding his own moral compass tested by what he sees.
Fiennes brings a controlled intensity to Lawrence’s interactions, his dialogue laced with a weariness and determination that encapsulate the conflict of a man caught between faith and disillusionment. It’s a brilliant touch that makes Lawrence feel both relatable and, paradoxically, like a figure etched from an older, weightier tradition. Berger’s direction complements Fiennes’s subtlety, allowing the tension to build naturally, with every scene rich in unspoken implications and power plays. There’s little doubt Fiennes has stamped his claim on an Oscar nomination for Best Actor and perhaps even a win.
Matching Fiennes’s intensity are Lithgow, Tucci, and Rossellini, who round out an ensemble that’s nothing short of spectacular and one of the year’s finest casts. Lithgow delivers as the traditionalist Tremblay, embodying the character’s strict adherence to doctrine with a ferocity that belies his otherwise measured presence. Always a scene-stealer, Tucci brings his penchant for sardonic wit to Bellini, his scenes providing moments of relief while still echoing the gravity of the conclave’s stakes. Rossellini is a mostly silent presence during most of the film, but Berger blesses her with a “mic-drop” moment that allows the veteran actress to almost steal the entire film. Together, this cast makes the internal dynamics feel urgent and real, as though each exchange is part of an intricate chess game where one wrong move could mean losing everything.
The pacing of Conclave is equally remarkable. There’s a careful deliberation to the way Berger and editor Nick Emerson construct the story, mirroring the methodical processes of the conclave itself. The film unfolds with measured suspense, building layers of intrigue as secrets are unveiled, relationships are tested, and the stakes grow increasingly personal. Berger’s approach, while not hurried, is never languid; each scene is purposeful, each exchange sharp and significant. For a film that relies on dialogue and atmosphere over traditional thriller tropes, Conclave is utterly enthralling, making it almost impossible to look away as tension escalates.
Superbly written by Peter Straughan, the thematic depth of his stellar screenplay is what truly makes this film stand out. Beneath the surface-level political intrigue and numerous twists and turns lies a profound exploration of faith, power, and the sacrifices made in service to both. Lawrence’s journey reflects a search for spiritual and moral clarity amid a world of murky agendas, and Fiennes’s portrayal captures the weight of this burden beautifully. As the conclave progresses, Lawrence is forced to confront his own beliefs, even as he navigates the Church’s rigid hierarchy and its unwillingness to change. By grounding the film’s tension in these universal themes, Straughan creates a narrative that resonates beyond the screen, raising questions about the costs of loyalty and the often-fraught intersection between personal conviction and institutional duty.
Berger takes these elements and runs with them, allowing us to see not only the humanity but also the ambitions, doubts, and fears of these high-ranking clergy members as they vie for influence in the eyes of God and man. Berger’s direction ensures that each revelation and plot twist lands with maximum impact, and he carefully balances moments of quiet introspection with bursts of suspenseful energy. As the narrative progresses, Lawrence’s arc becomes a haunting meditation on morality and the often-blurred lines between faith and duty. Even as tensions mount and alliances shift, Berger keeps the story grounded in Lawrence’s inner struggle, adding a psychological depth that lingers long after the credits roll.
One of the most engaging aspects of Conclave is its exploration of faith’s intersection with realpolitik. As Lawrence digs deeper into the political intrigue surrounding the conclave, the film raises thought-provoking questions about the nature of power and the ways it can compromise even the most devout. By centring the story around a figure like Lawrence, Berger avoids one-dimensional characterisations, instead opting to portray a deeply human struggle with nuanced moral shades. In this way, Conclave transcends the trappings of a traditional religion-based thriller (I’m looking at you, Dan Brown), morphing into a compelling character study that resonates on both an emotional and intellectual level.
In saying that, there’s an unexpected dash of camp thrown in here that is actually rather delicious. For all its reverence, the papal conclave is really just a catty popularity contest that brings out the worst in people. It’s as devious and bitchy as any beauty pageant and it deserves someone like Berger to flirt with satirising it. I mean this as the highest possible compliment, but Conclave is almost like Succession meets Mean Girls. There’s one scene featuring Lawrence that genuinely echoes Regina George distributing photocopies of her infamous Burn Book throughout the school halls. Intentional or not, it highlights how this group of sparring cardinals is ultimately just a gang of malicious high school girls.
Okay, back to serious business. The cinematography of Stephane Fontaine and Suzie Davies‘ production design transforms the Vatican into a living, breathing space of immense power and history. Every frame is imbued with the grandeur and tension of the setting, drawing the audience into the conclave’s claustrophobic, insular world. Berger and Fontaine craft scenes that contrast the silent austerity of the Vatican’s corridors with the tumultuous inner lives of its characters, using shadow and light to emphasize the duality at the film’s core. The setting itself becomes a character, full of secrets, hidden passages, and lingering ghosts of past decisions that add layers of unease to the proceedings.
Conclave is, in short, a triumph of direction, performance, and storytelling. In other words, it’s one of the best films of the year. Berger and his stellar cast have created a film that captures the fragility and strength of faith, the beauty and burden of duty, and the constant struggle between change and tradition. For audiences, it’s not just an exploration of Vatican politics; it’s an exploration of human nature, one that raises timeless questions about who we are and who we aspire to be when faced with life’s most challenging decisions.
It’s one of the year’s most intellectually engaging and emotionally resonant films, a rare thriller that skillfully combines suspense with profound thematic depth. It’s a masterclass in subtlety and tension, with performances that breathe life into a script brimming with insight and complexity. This is a piece of cinema that deserves to be seen—and, perhaps more importantly, one that deserves to be pondered.
Distributor: Focus Features
Cast: Ralph Fiennes, Stanley Tucci, John Lithgow, Isabella Rossellini, Sergio Castellito, Lucian Msamati, Carlos Diehz, Brian F. O’Byrne
Director: Edward Berger
Producers: Tessa Ross, Juliette Howell, Michael A. Jackman, Robert Harris. Alice Dawson
Screenplay: Peter Straughan
Cinematography: Stephane Fontaine
Production Design: Suzie Davies
Costume Design: Lisy Christl
Editor: Nick Emerson
Music: Volker Bertelmann
Running Time: 120 minutes
Release Date: 25th October 2024 (US), 9th January 2025 (Australia)