Ballot Wounds, Pt. 2 — Conclave

Edward Berger’s new CONCLAVE is a low-key, intimate political thriller full of unexpected reveals, but fundamentally about power, purity, belief, compromise, perception, and committee decisions. This week we share our thoughts on CONCLAVE’s insular focus and messaging around religion and politics before considering how its power brokers and kingmakers compare to those found in the 1964 presidential-candidate drama THE BEST MAN, and the two films’ overlapping ideas about whether politics demands hypocrisy. And for Your Next Picture Show, we offer a recommendation for THE DEATH OF STALIN, a radically different movie about the vacuum left when a powerful man dies, and the jockeying and chicanery that follows.

Please share your comments, thoughts, and questions about THE BEST MAN, CONCLAVE, and anything else in the world of film by sending an email or voice memo to [email protected], or leaving a short voicemail at (773) 234-9730.

Next Pairing: Sean Baker’s ANORA and Garry Marshall’s PRETTY WOMAN.

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