Think our presidential races are heated? Just wait until you witness the scheming of ambitious cardinals battling for the papacy in “Conclave.”

Director Edward Berger has created an astonishing adaptation (★★★★ out of four; rated PG; hitting theaters this Friday) of Robert Harris’s 2016 novel. It’s more thrilling than you might expect from a film about papal politics. Ralph Fiennes delivers a strong performance as a cardinal navigating rich and chaotic religious drama. Berger intricately combines elements of a locked-room mystery, courtroom drama, detective story, and political thriller into a riveting and relevant narrative.

The sudden passing of the pope couldn’t come at a more challenging time for Cardinal Lawrence (Fiennes), who is grappling with a personal faith crisis. He must now lead the conclave tasked with selecting a new pope.

As cardinals gather at the Vatican, tensions run high not only because of the mysterious circumstances surrounding the pope’s demise but also due to the conflicts among the contenders. Lawrence feels the pressure intensify.

Among the candidates, his modern-thinking friend Bellini (Stanley Tucci) is a crowd favorite, alongside the conservative and power-thirsty Tedesco (Sergio Castellitto). The crafty Tremblay (John Lithgow) flexes his political influence, while Adeyemi (Lucian Msamati) aims to make history as the first African pope. Then there’s the little-known Benitez (Carlos Diehz), a cardinal from Kabul whose existence seems to have been overlooked until now.

Some cardinals are calm, others exhibit corruption, and many conceal their true agendas. As tensions escalate and alliances shift, Lawrence takes on the role of a detective, seeking to uncover hidden scandals amidst a twisty plot that culminates in a surprising ending marked by the arrival of white smoke. (If you guess this conclusion, maybe attribute it to divine insight.)

Putting ambitious religious figures in a confined space generates a tense atmosphere in “Conclave,” contrasting with the sacred and awe-inspiring moment of voting in the Sistine Chapel. (While they didn’t film in the actual chapel, Berger captures its majesty magnificently.)

The film’s intensity is further enhanced by superb performances: Fiennes portrays Lawrence with a vulnerable sincerity, while Tucci and Lithgow bring depth and intensity to their rivalry. Isabella Rossellini shines as Sister Agnes, who initially seems to be at Lawrence’s side with her supportive insights, yet reveals herself as a critical source of emotional depth and moral complexity.

Berger skillfully balances a diverse cast of characters, each with unique beliefs and motivations, keeping the audience engaged in rooting for or against them. Alluding to real-life controversies within the Catholic Church adds more layers to the narrative. The film serves as a compelling exploration of genuine themes and human flaws, making the simple act of voting a critical and thrilling experience.