Conclave (2024) | REVIEW

Directed by Edward Berger — Screenplay by Peter Straughan.

How do you follow up successfully directing a German-language version of All Quiet On the Western Front to critical acclaim and multiple little golden men statues from the Oscars? It’s a good question, and it is exactly the kind of challenge German filmmaker Edward Berger had in front of him. Now, two years later, we have our answer with Conclave, as Berger has crafted yet another adaptation of a major novel. This time around his film is a big screen adaptation of Robert Harris’ 2016 thriller novel of the same, and his adaptation was written by Peter Straughan, a BAFTA-winning co-writer of Tinker Tailor Soldier Spy. Straughan’s writing and Berger’s direction are paired with a stellar cast spearheaded by Ralph Fiennes, together that trio has brought us a political thriller for grown-ups that is deeply engaging. 

Edward Berger’s Conclave follows Cardinal Lawrence (played by Ralph Fiennes), as he, in the wake of the death of a beloved Pope, is to oversee and be in charge of the papal conclave meant to elect a new Pope. As news and rumors start to spread, Lawrence will both have to carry out the ceremonial process, investigate the gossip and the individual candidates, and navigate the minefield of the various political groups within the College of Cardinals, all of which desire ultimate power and fear what impact certain ideologies and beliefs may have on the papacy.  

I think a lot of people will view this as, essentially, a modern and progressive take on a narrative that theoretically also could have been explored in a Dan Brown Robert Langdon-novel, but unlike those Dan Brown adaptations, this film mostly stays within reason and realism up until one or two sensationalist moments towards the third act. Nonetheless, it is a political thriller first and foremost. To go any more into the sensationalist elements than it already does would’ve robbed it of its gravitas and its well-orchestrated political intrigue. And it absolutely has that. You get the sense that it is a film about old traditions, how strange they are, and how the process, like many political systems, is full of covetous, jealous, hungry old men in a quest for power willing to do anything to get their way. The film depicts a political struggle for power with conspiracy theories and coverups. 

Although later events can be read as magical or spiritually significant, i.e. acts of God, the film, for long stretches, works as a demystification of ancient traditions revealed to be just as sinful as criminal political coverups. It reveals the fallibility, the sinfulness, and the toxicity in a process that should be holier and closer to God than it perhaps actually is. It is also, however, a twisty film with reveals that challenge conventional Christian beliefs and, very likely, will challenge many of its viewers through the progressiveness of its final twist. It is a bold turn that mostly works and which is quite thought-provoking. 

The film is also concerned with the role of women in the process, with them being on the fringe of everything though with very little to say in the matter, if anything. This aspect, however, ought to have been more fleshed out, as Isabella Rossellini doesn’t get a lot to do as the film’s central Sister. The individual political camps within the College of Cardinals also could’ve been more fleshed out, though, to be fair, the individual characters made to represent them are played with gusto and commitment. 

In a lot of ways, Edward Berger’s well-staged and well-shot Conclave is the total package. In addition to being built around a riveting screenplay, it features a dramatic original score from Volker Bertelmann, as well as striking visuals that emphasize the production design and the rich reds of the costuming. At the heart of it, we find Ralph Fiennes, in top form, who turns in a performance of the highest order where he accurately captures and communicates his character’s concerns, his doubt, and his moral center. In addition to Fiennes and Rossellini, the film also features memorable supporting turns from Stanley Tucci and Sergio Castellitto.

8.5 out of 10

– Review Written by Jeffrey Rex Bertelsen.