Conclave begins with a death, but while the Ralph Fiennes-film starring Not a Murder Mystery, director Edward Berger’s follow-up to 2022’s All quiet on the western front treats it almost like that. Adapted from the Robert Harris novel, the gripping film takes the viewer into the elaborate rites and rituals that follow a pope’s passing – the most important of which is, who will be chosen as the new pope?

As the film begins, Cardinal Lawrence (Fiennes) knows one thing: he’s definitely not interested in the job. As dean of the College of Cardinals, he just wants to get through the process of overseeing the election of the new pope (whoever that may be) and get Vatican City out for a more peaceful posting. But the incoming cardinals now vying to wear the best-looking hat in the land won’t make it easy for him, especially as the world outside the Vatican walls is as complicated as ever.

Cardinal Bellini (Stanley Tucci) has a more liberal view of the Church, but does not necessarily have the support, while Cardinal Tedesco (Sergio Castellitto), Cardinal Adeyemi (Lucian Msamati) and Cardinal Tremblay (John Lithgow) come from different countries but represent a more conservative view. All have their secrets, most of which come out in the hours between voting sessions, still conducted via secret paper ballot and burned after each round.

For those who love details, Conclave honors in the traditions that define this act of succession, from the sealing of the deceased pope’s chamber to the arrangement of toiletries provided to the visiting cardinals. Cinematographer Lucian Msamati highlights the beauty of the film’s Roman locations while leaning heavily on close-ups of everything from canisters of colored smoke to the setting of each cardinal’s desk to the rich fabrics worn by those in attendance.

Because this is both a conference and a pageant, with costume designer Lisy Christl doing important work making the dozens of zucchettos, birettas and mitres needed for the cast. (Never thought I’d have reason to look up the names of the hats the Cardinals wear before today, but life is full of wonderful surprises.) And the details of this customization extend beyond the superficial to those involved, especially the support staff who make what convention anything of this kind possible, especially as the support staff consists of a crew of nuns led by Isabella RosselliniSister Agnes – who is silent until she speaks louder than anyone else.

Everyone, including Sister Agnes, is a soldier in this war, because Conclaveat least initially, never portrays the contest for a new pope as anything other than a political battle between flawed men. This is in direct contrast to what it purports to be – an attempt to discover and elevate true divinity within a human soul. In fact, the question of who really can be the best spiritual leader of the church hardly seems to come up here; it’s all about vote numbers and who has the support of various cliques with the cardinal community.

Because of course there are clicks, and off course these guys get toxic with each other. Conclave doesn’t dig too hard into the stakes of this election—what it would mean for the people of the world who follow the Catholic faith if a particularly progressive or regressive pope is elected. Instead, the focus is on the people involved, and whether they are paying lip service or true devotion to the supposed goals of the process.

And in a way, that’s all fascinating. It helps that Berger has assembled a truly first-rate ensemble, with Fiennes’ world-weary work anchoring the proceedings. Stanley Tucci electrifies every scene he’s in, while Lucian Msamati, Sergio Castellitto and John Lithgow all get fascinating and/or devastating moments to shine. By contrast, relatively unknown Mexican actor Carlos Diehz—who plays an equally obscure cardinal who was invited at the last minute to the proceedings—has the least experience of anyone, but represents a brilliant find by the casting team; he ends up becoming an important piece of the puzzle that leads Conclave to its surprising, potentially even shocking conclusion.

Conclave (focus features)

The simplicity of Conclaves narrative means it’s easy to assign meaning to it – coming out on the eve of the 2024 presidential election, for example, can’t help but bring with it some allegorical implications. And there is something exceptionally relatable about Cardinal Lawrence’s attitude, in these hazy, not-really-post-COVID times; Lawrence just wants peace, a simple life, free from papal politics. (Sounds nice.)

Conclave is rated PG, which is somewhat unusual for a drama that is very clearly aimed at an adult audience — despite the rating, I wouldn’t recommend it for children, unless said children really like hats. However, that rating only highlights the power of Berger’s storytelling, which requires no extreme violence or language or sexuality to keep the audience invested. It doesn’t matter if your knowledge of Catholicism is limited: Watching brilliant actors face questions of idealism, pragmatism and maybe sometimes faith makes for riveting viewing. Conclave even dare to do it a little fun. Which may be its most subversive element.

Conclave is at the cinema now.