After delivering a daunting war-epic with his 2022 adaptation of All Quiet on the Western Front, director Edward Berger dishes out another viable Best Picture contender with Conclave. This time though, he trades explosive and suspenseful warfare for searing political thrills that are tantalizing at every turn. 

Based on Robert Harris’ 2016 novel of the same name, the film takes viewers into The Vatican shortly after the Pope passes away from a heart attack. Now, Cardinal Lawrence (Ralph Fiennes) leads an election for a new Pope that’s complicated by rising political tensions and damaging revelations. Berger evokes a gripping intensity from the very beginning that catches you off-guard. Lawrence’s panicked walk gets your heart pounding and personifies the sudden impact of the Pope’s death. It’s a palpable turning point for the Church that Berger excellently emphasizes the stress of through Volker Bertelmann’s tense score and the flood of voices that come into the fold. 

As Lawrence surveys potential candidates, viewers intimately experience the entire spectrum of ideologies that could drastically alter the Church’s direction. There’s a growing conflict between liberal and conservative values that underscores a nasty vie for power. Traditionalist and progressive mindsets are so strained that they feel like they’re about to spark a war. Plus, the addition of a mysterious candidate like Cardinal Benitez (Carlos Diehz) brings so much uncertainty – especially as he silently gains a following. On paper, Conclave wouldn’t seem like the kind of film that would cause sweat-inducing thrills since it’s mostly political chatter. But Berger and writer Peter Straughan establish the stakes of this election so effectively by capturing a relevant anxiety.

There’s so much of our own discourse from recent general elections sewn into Conclave that viewers will instantly recognize and connect with. From promises of change that are so radical that they visibly shake Lawrence to his core to combative interactions that highlight how dire this result is, Conclave is deeply reflective of our own political landscape, and frankly, that’s what makes it such an engrossing thrill ride. There’s a perspective for everyone to attach themselves to, and you quickly find yourself totally invested in the process. Not to mention, Berger gives the film an immense sense of scale through these awe-striking set pieces and larger than life shots that heighten the importance of the whole ordeal.

But these immersive political depictions are also where Berger and Straughan purposefully hook viewers as the film evolves into something much more enticing. As Lawrence looks into swirling rumors surrounding different candidates, Conclave gets some detective-mystery vibes injected into its DNA – and it makes the film even better. There’s nothing more fun than seeing Lawrence toss on his detective hat and dig into every bit of gossip that crops up. Whether it’s someone’s ugly past bleeding into the present or a saboteur doing anything they can to win, Lawrence’s truth-seeking leads to some juicy threads entering the film. And, once the film shifts gears towards Lawrence actively looking for answers, it never lets off the gas and lets the performances ramp up the tension with every interaction. 

Berger has assembled an ensemble like no other for Conclave, and there are plenty of award-worthy performances to talk about. John Lithgow exudes all the vile yet captivating elements of a corrupt politician who’s so slimy they would sell anyone for a mere taste of power. Stanley Tucci excels at emphasizing the impact this race will have and acts as a unique force for Lawrence who makes him question everything, including himself. Isabella Rossellini has looks so sharp they cut you down from your seat, and plays an interesting role in Lawrence’s search for answers. She adds some real depth to the perceived role women have in the Church and delivers a well-timed monologue that’s powerful because of how silent she’s forced to be throughout. No one beats out Fiennes though as he’s magnificent as this middle force that’s trying to find balance for the Church’s future. Although Fiennes maintains the stern composure that he’s known for, there are plenty of flashes of Lawrence’s humanity, and it’s where viewers connect deeper to Fiennes’ performance. Fiennes showcases a determination for truth that’s not only Oscar-worthy, but makes the film’s final act an absolute nail-biter. 

As gut-wrenching truths are revealed, the trajectory of this election changes in an instant – leaving you little time to pick your jaw off the floor. Berger’s direction and Straughan’s writing rise to new heights with how they continually ramp up the tension and leave viewers wondering what other shoe will drop next. Admittedly, it does feel like the twists get a little too overzealous in the film’s final stretch since the last truth Lawrence discovers is quite the curveball. That’s not to say it’s not satisfying or strong, but there isn’t a lot of time to delve into it, and it takes you out of the moment because it’s so unexpected. Regardless though, Conclave leaves viewers guessing until the very end and creates arcs that’ll keep viewers thinking long after leaving the theater. 

Berger and company take something that could’ve been a generic political thriller like Conclave and turn it into a must-see crowd-pleaser that’s easily one of the best films of the year. Its balance of relevant political commentary and juicy, nerve-shredding thrills is unmatched and makes for an unexpected gem that never ceases to please.

Watch the Trailer Here: