Edward Berger's 2024 film, Conclave, adapted from Robert Harris' 2016 novel of the same name, is a riveting and thought-provoking thriller that delves into the insulated and inscrutable world of the Vatican during the sacred process of electing a new pope. Skilfully juxtaposing the sacred and the sinister, the film delves into the tension between faith and folly, spirituality and politics, tradition and modernity, and ethics and expediency.

Following the sudden and mysterious death of an unnamed pope – officially attributed to a heart attack but shrouded in suspicions of possible foul play – the responsibility of overseeing the papal conclave to elect a new pope falls on Cardinal Thomas Lawrence (Ralph Fiennes), the British Dean of the College of Cardinals. As 118 cardinals from around the world converge within the sacred walls of the Vatican, Lawrence must navigate a tempest of political intrigue, brazen factionalism, bitter ideological divides, unchecked personal ambition, and unsettling moral compromises that threaten to fracture the sacred assembly. The conclave, traditionally a sacred process, quickly descends into a battle of ideologies and personalities, culminating in the election of a pope whose very identity challenges centuries-old traditions and exposes the fragility of the Church's moral and spiritual authority.

Berger's adaptation is a cinematic triumph, earning eight nominations at the 97th Academy Awards, including Best Picture. The film skillfully weaves together the intimate drama of the conclave with broader themes of faith, power, and the inherent fallibility of humanity. Delving into the intriguing intersection of religion and politics, the film resonates well with our contemporary world, grappling with questions of identity, morality, and the role of institutions in an increasingly polarised society.

As the conclave progresses, four cardinals emerge as frontrunners for the Chair of St. Peter, each representing distinct factions within the Church and carrying secrets that threaten to derail their candidacies – Aldo Bellini (Stanley Tucci), Joshua Adeyemi (Lucian Msamati), Joseph Tremblay (John Lithgow), and Goffredo Tedesco (Sergio Castellitto).

Bellini is a liberal American in the mould of the late pope. He champions progressive reforms, advocating for greater inclusivity, transparency, and modernisation within the Church. Despite publicly downplaying his interest in the papacy, he covertly seeks support for his candidacy. While his progressive ideals attract significant support, they also provoke opposition from traditionalists who perceive him as challenging the Church's doctrinal integrity.

Adeyemi is a rigidly conservative Nigerian known for his staunch opposition to LGBTQ+ rights and his progressive economic policies, which advocate for wealth redistribution and social justice. However, his candidacy is jeopardised by a scandal from his past – a relationship with a nun, Sister Shanumi, which resulted in the birth of a child. Though buried for years, this revelation resurfaces during the conclave, casting a shadow over his moral authority.

Tremblay, a mainstream conservative from Canada, represents the middle ground, advocating for stability and gradual reform rather than radical change. However, his candidacy is tainted by allegations of simony—accusations that he bribed cardinals for votes and manipulated the conclave for personal gain. The late pope, aware of these allegations, demanded his resignation on the night of his death, adding a layer of intrigue to Tremblay's involvement in the election.

Tedesco, an Italian traditionalist and reactionary, is notorious for his racist views and abusive treatment of his subordinates. He rejects the reforms of the Second Vatican Council, advocating instead for a return to hardline conservative policies and a militant stance against other religions. His fear-mongering tactics and divisive rhetoric appeal to cardinals who view the Church as under siege from modernity and secularism.

The conclave's rules strictly prohibit participants from contacting the outside world, but driven by a sense of duty and moral obligation, Cardinal Lawrence conducts an independent investigation into the candidates' backgrounds. His inquiries uncover the dark secrets of Adeyemi and Tremblay, further complicating the election.

Through Sister Shanumi (Balkissa Souley Maiga), a member of the conclave's catering staff – who, on the second day, had an unpleasant encounter with Adeyemi in the dining hall – Lawrence learns of Adeyemi's past relationship and the child they share. Confronted with the truth, Adeyemi admits his mistake and pleads for forgiveness. Lawrence, bound by the sanctity of confession, chooses to keep the revelation secret. However, rumours of the scandal spread through a whisper campaign orchestrated by Tremblay, effectively sabotaging Adeyemi's candidacy.

From Sister Agnes (Isabella Rossellini), the head of the catering and accommodation department for the conclave, Lawrence discovers that Tremblay, aware of Adeyemi's scandal, orchestrated Sister Shanumi's reassignment to the Vatican to undermine his rival Adeyemi. Tremblay denies the allegations when confronted and accuses Lawrence of manipulating the conclave for personal gain. Determined to uncover the truth, Lawrence breaks with tradition and secretly enters the late pope's apartment, where he finds documents proving Tremblay's involvement in bribery and vote-buying. This revelation eliminates Tremblay from the race, leaving Tedesco as the only prominent candidate.

As the conclave unfolds, Lawrence, initially reluctant and grappling with a crisis of faith, finds himself increasingly drawn into the election machinations. His integrity and humility begin to resonate with the Cardinals, positioning him as a dark horse candidate.

However, the election takes a dramatic turn when a devastating suicide bombing in Rome kills 52 people and damages the Sistine Chapel. The attack and the news of further planned attacks in Louvain and Munich send shockwaves through the conclave. Tedesco seizes the moment, delivering a fiery and divisive speech in which he tries to establish his conservative agenda by criticising the liberalists in the Church and blaming Islamist extremists for the violence. Interpreting the attacks as evidence of a broader religious war, he calls for a militant response, urging the Church to abandon its conciliatory approach and adopt a combative stance against Islam. His rhetoric appeals to cardinals driven by fear and a desire for strong leadership in the face of crisis.

Archbishop Vincent Benítez (Carlos Diehz) of Kabul, who was secretly made a cardinal by the late pope the previous year, is a last-minute addition to the conclave. He delivers a powerful rebuttal to Tedesco's rhetoric. A man with vast experience in working in the Islamic world and a champion of interfaith dialogue and inclusivity, Benítez condemns the folly of religious war and calls for unity and reconciliation.

Appealing to the cardinals' conscience, Benítez rebukes the cardinals, saying, "These last few days we have shown ourselves to be small and petty men, concerned only with ourselves, with Rome, with this election, with power." And he goes on to affirm, "Things are not the Church. The Church is not tradition. The Church is not the past. The Church is what we do next." His message resonates with many cardinals, offering a stark alternative to Tedesco's inflammatory rhetoric and his vision of a regressive and combative Church.

Moved deeply by Tedesco's message, the cardinals elect him as the new pope in the next round of voting. However, in a poignant and ironic twist, Lawrence learns that Benítez is intersex, having been born with both male and female reproductive organs. Benítez chose not to undergo a laparoscopic hysterectomy that could remove his female reproductive organs, believing that God made him as he was. Despite this revelation, Lawrence chooses to keep Benítez's secret, prioritising humility and loyalty over ambition and intrigue. This decision underscores Lawrence's moral integrity and sets him apart from the other cardinals, who are largely driven by self-interest and ideological agendas.

Conclave depicts a Church caught in the throes of its own internal contradictions and besieged by external pressures. Internally, the Church is fractured by relentless power struggles, crises of faith, erosion of its spiritual foundation, and ideological clashes that threaten its very core. Externally, it is buffeted by the relentless tides of a rapidly evolving world, leaving it weakened and perilously vulnerable to the problems plaguing the larger world.

At the heart of the narrative lies the tension between tradition and progress, emblematic of the Church's struggle to remain relevant in an era of seismic change. The relentless manoeuvring of cardinals for the Chair of St. Peter — an issue that some might argue seeks to discredit the Church – reveals the danger of allowing worldly ambitions to infiltrate the sacred halls of the Holy Catholic Church. However, amidst this mayhem, Lawrence's unwavering commitment to his conscience throughout the conclave stands as a saving grace, serving as a powerful counterpoint that underscores the importance of individual integrity.

The unexpected rise of Benitez within the Church – and his eventual election as pope, a prospect traditionally considered unthinkable – challenges entrenched notions of tradition, offering a bold re-examination of gender, identity, leadership, and the very essence of the papacy. His ascent signals a call for greater inclusivity, acceptance, and a redefinition of leadership in the modern Church.

The film suggests that for the Church to remain relevant in a rapidly changing world, it must embrace inclusion over exclusion, prioritise compassion over confrontation, promote open dialogue instead of militant posturing, and rediscover the true spirit of faith rather than clinging to outdated dogmas and traditions.

While Conclave is a story of an election that exposes the fractures within Church leadership, it compels us to question our established notions of leadership and spiritual authority in the Church – both in the contemporary world and in its future.