Who would have guessed that the election of a new pope would create an exciting, shocking mystery thriller? The whispered conversations of aging cardinals in ornate robes do not usually imply breathtaking excitement. But now brilliantly clever and sinfully funny in theaters, “Conclave” is a riveting provocation you won’t want to miss.

Given that we are now heading to the polls, nothing could be more timely and urgent than the intent of “Conclave” to stamp out voter fraud. Adapted from Robert Harris’s 2016 bestseller, “Conclave” doesn’t go beyond exploring the church’s political divisions or poking fun at its grandeur. And humor, ranging from satirical to silly, is very welcome.

When one pope dies, another comes in, right? Tough. The process, brought to life by Peter Straughan’s knockout script, is as brutal as our own choices. It is no coincidence that the distinguished German filmmaker Edward Berger also directed “All Quiet on the Western Front.” There’s war here, too, as the cardinals race to impress the world’s 1.4 billion Catholics.

Ralph Fiennes delivers a masterstroke as Cardinal Lawrence, appointed by the recently deceased pope to serve as dean of the college of cardinals; here the princes of the church meet secretly behind the locked doors of the Domus Sanctae Marthae. holy men (no women) are confined to monasteries (dazzling sets were built in Rome’s Cinecittà studios).

What’s at stake? You either vote for the reactionary Cardinal Tedesco (Sergio Castellitto in full force), or you side with non-returners like Cardinal Bellini (Stanley Tucci, superb), who wants to see a greater role for women. homosexuals. Cue the conservative pearl clutch.

There are moderates on both sides, like Canadian Tremblay (John Lithgow makes a sneaky return) or lurking Nigerian Adeyemi (Lucian Msamati), but then you’ll have to uncover sex scandals, unmarried pregnancies and voter fraud. But what about Benitez (the standout Carlos Diehz), a Mexican-born man from Kabul who was secretly appointed by the late pope to guard his safety?

Director Berger keeps “Conclave” alive with suspense, chilling suspense and great acting.

There are few things more difficult to act on than virtue, but Fiennes does so with commanding precision, discussing the doubt of a priest who “sins and begs for forgiveness” and can live with his own doubt.

Even when he defends Bellini, who is angry at Lawrence’s false modesty, this attitude wins him surprise votes. Tucci is thrilling as a man of faith compromised by personal ambition and arrogance.

Joining Fiennes in the art of the underplay is the magnificent Isabella Rossellini as Sister Agnes, the only woman in this all-male gathering. Rossellini has little dialogue, other than a provocative rebuke to the cardinals that women “have eyes and ears,” which pundits suggest could hurt her chances for a best supporting actress Oscar.

Meaningless. The daughter of Ingrid Bergman and director Roberto Rossellini, this actress has cinema in her DNA and can be easily seen in many different films such as “Blue Velvet” and “La Chimera”. His presence in “Conclave” is deeply felt, even when he’s off-screen. This is star power. Rossellini doesn’t need dialogue to reveal his emotions in “Conclave.” That’s why she’s the film’s feminist conscience and sorrowful heart. You can’t take your eyes off him. And you shouldn’t.

Some of the cool kids dismiss “Conclave” as a throwback in a world that needs innovation to change. Maybe so. But I see “Conclave” as an impassioned invitation to think and feel about what’s on screen. You won’t find that in a Marvel epic.

Stéphane Fontaine’s stunning footage tells its own stories, from cardinals carrying umbrellas in the rain unable to shield themselves from heaven’s gaze to the shock of a terrorist bomb shattering stained glass windows. Okay, the double-twist ending is one more than we need, but make no mistake, “Conclave” will have you glued to your seat. One of the best movies of the year.