The conclave provides the microcosm of today’s political shocks through papal elections from hell

In the middle is everyone else, including a string of talented actors like John Lithgow and Lucian Msamati, who play alternative cardinals fighting for the papacy, each representing a distinctly opportune view of how power should be held in years and culture. future wars, ecumenical or otherwise. Trying to muster all their egos is Fiennes’ central Lawrence, a priest who’s no longer sure he believes in God but feels it’s a divine mission to break the rules and open laptops if it might mean uncovering anything possible political manipulation that takes place behind the scenes.

“Obviously you always want a movie to be of its time and reflect things,” Berger says of the film’s haphazard release window. “We’ve lost the ability, and that’s reflected in the film, to really have a conversation and a civilized disagreement. In a way, the world is made up of fundamentalists who are so certain of what they believe, and a lot of what the film is about is embracing uncertainty.”

Despite the film’s heavy themes, the picture is actually quite a crackling pot with more twists and shocks than its setting would suggest. We won’t give any of them away, but it’s ironic that the film comes on the eve of an American election watched with bated breath around the world—an election that had its own surprises that might have seemed absurd had they also appeared in a prestige thriller like Conclave.

“Obviously we didn’t plan for the movie to be released this year,” Berger muses about the irony. “We’ve been doing it for years and years, so it’s a coincidence. At the same time, it’s interesting to see how many twists and turns you make in a movie, but still you’re almost out of touch with reality. (This US election) has more twists and turns, and I hope there will be a good outcome in a few weeks that will be satisfactory to many people in the world.”

That said, Berger didn’t just design this movie to reflect 2024. It’s the first movie Berger has made since receiving an Oscar nomination for the screenplay. All quiet on the western fronta film that was also nominated for Best Picture, Conclave it was meant to be a breath of fresh air for the director. After making a mostly visual and silent film about the relentless nature of war, here is a thriller where most of the excitement is derived from dialogue and intellectual ideas that come in cerebral, and sometimes physical, combat.

The German-Swiss director likens the project to a palate cleanser after having “the same conversation” with himself for five years. Still quiet. However, both films still feature patriarchal male leaders who like to throw their weight around while setting terms against each other. Perhaps this is why Berger attributes his relationship with Conclave being not only Cardinal Lawrence’s doubt, but a sermon in particular that Fiennes delivers at the beginning of the film and before the conclave officially begins. During his speech before the doors are closed and the windows covered, Fiennes intones the importance of doubt in a pope who will be asked to represent every opinion, perspective and soul in the Catholic world.