At first glance, “Conclave” feels like a heavyweight, fundamentally elevated by its rich, religious imagery, celebratory setting and the A-list actors we often associate with important films. It looks like a film that would go straight to awards shows, an “elitist” film that isn't accessible to all audiences. Ralph Fiennes, a woefully underrated actor who has yet to win a statuette at the Academy Awards and hasn't even been nominated since 1997, plays our leading role. Isabella Rossellini takes on the role of a stone-faced nun who wordlessly patrols long hallways, silently fighting against the outdated patriarchy. And the setting, a cathedral filled with marble and stained glass, gives the film an absolute authenticity.

But if the spectrum of films about Catholicism coming out of Hollywood was limited by the postmodern sleaze of “The DaVinci Code” on the one hand and the high-profile corruption exposé “Doubt” on the other, “Conclave” is much closer to the former than the latter . Based on the 2016 novel of the same name by Robert Harris, “Conclave” sells itself as a serious and haunting film; Boiled down to a catchy one-liner, it's actually a real-life thriller, introducing snarky contestants on an ancient game show whose goal is to undermine, stab in the back and stab their way to Rome's greatest prize, the papacy to humiliate. If that sounds dramatic, then you've got the gist of the film's underhanded tricks.

From its opening scene, “Conclave” is a series of shocking revelations held together by solid, earnest performances and a wonderfully twisted premise. German director Edward Berger's last film was “All Quiet in the West,” a foreign-language sleeper hit that won four Oscars. This film was certainly more stylized than Conclave, evidence that Berger knows what he's doing, both in his wordy imagery and his situational take on restraint. Because “Conclave” is told with a secure framework and pace, it is not about the lighting or epic choreography. The film's message is best conveyed through the faces on the screen, which, like the characters at the heart of the film, are all vying for our attention.

After the pope's death, Catholic officials from around the world descend on Rome to complete one of the religious world's oldest and most secret rituals: the election of their new church leader. Cardinal Lawrence (Fiennes) was appointed by his former boss as a sort of moderator. Despite his own crisis of faith, Lawrence agrees to see the event through to the end, maintaining order when necessary and investigating possible corruption when all signs point to it. What should be a straightforward election and voting process is complicated by the many personalities in the room. Tedesco (Sergio Castellitto) is an Italian priest with conservative values ​​and a radically old-fashioned mentality that would set the Catholic Church back decades. Bellini (Stanley Tucci) is a modern American priest, Tedesco's rival in every way and a popular figure who wants promotion to prevent traditionalists like Tedesco from undermining the church's progress.

Tucci is always solid and is particularly convincing here, reminding the viewer that he can engage in the role of a priest with equal parts profound seriousness and lightening humor. African Cardinal Adeyemi (Lucian Msamati), one of the early favorites, is thwarted by an unknown saboteur who guards a long-hidden secret. Tremblay (John Lithgow) is another ladder-climbing cardinal whose act of complete ignorance doesn't stop Lawrence from figuring out his own shortcomings. Rossellini's sister Agnes rounds out the group of suspects – we assume everyone should be suspected of one wrongdoing or another – and it is her presence as the only woman with a significant role in the film that highlights the hypocrisy of her male overseers.

Much of what goes on behind the closed doors of the papal conclave is unknown, but Bishop's novel and Peter Straughan's screenplay make it clear that these high-ranking men have more in common with competitive sorority girls than meets the eye. The tension builds until the Cardinals finally decide on a successor, even though no one may be expecting him.

I want to keep this ending spoiler-free, but it will likely lead some viewers to ultimately not find Conclave to be the film they were hoping for. It's a little off balance, although I would argue that it works and contributes to the overarching themes of the fallibility of man, even religious men. For traditionalists or those who either do not want to suspend their disbelief or perhaps feel that there is an agenda aimed at scandalizing an organization that does not need help with unfortunate headlines, then I hope that the journey, which is also very entertaining, one that is worth enduring.

“Conclave” is in theaters now.