A close election. The possibility for an old man to reach a position of great power. Infighting between factions and ideological split. The description fits the imminent US vote, but also the “Conclave” plot. New film directed by Edward Berger based on the novel by Robert Harris, “Conclave” focuses on the election of pontiff maxim — the pope — by the College of Cardinals. Spot the rumors in the Sistine Chapel.

The choice of a new pope begins as soon as the old one breathes his last – or, as happened with Pope Benedict XVI, resigns. “Conclave” begins on the deathbed of an elderly pope, and it falls to the fictional dean, Thomas Lawrence (Ralph Fiennes), of the College of Cardinals to chaperone the selection of a successor. The liberal wing of the Curia, with which Lawrence sympathizes, is defended with impish piety by Cardinal Bellini (Stanley Tucci).

Another competitor is Cardinal Tedesco (Sergio Castellitto), a reactionary with voracious appetites who grips his vape with the enthusiasm that a prince of the Church should reserve for his rosary. Cardinal Tremblay (John Lithgow) is all things to all prelates, but scandal hovers off-screen until it takes center stage. An African candidate, Cardinal Adeyemi (Lucian Msamati), gains momentum, but a youthful indiscretion surfaces at the worst possible time.

A mysterious character from Kabul, Cardinal Benitez (Carlos Diehz), is a scarlet-clad variation of Chekhov’s gun – present at the beginning of the film, he gains prominence at the end. Isabella Rossini, all stern in appearance and keen competence, is a superb Sister Agnes. One of them, somewhat sacrilegious, wishes she would talk more. The “Conclave” has an eye for detail worthy of the artists who have embellished the rooms in which the Church conducts its business.

Cardinals are sequestered during a conclave and released only once a candidate obtains the required qualified majority. Then white smoke rises in St. Peter’s Square and the declaration habemus papam is bellowed. Much of the fun of “Conclave” comes from delivering some sacred behind-the-scenes scoop. Men whisper in corners and form alliances over cigarettes. The dreams nurtured over decades collapse from one election to the next.

“Conclave” addresses the sins of the Church – sex scandals, financial misdeeds, venal corruption and hubris – but with a light touch. Her intelligence is most evident when she walks the blurry line between piety and politics. Every cardinal, we are told, wants to be pope – especially those who deny they crave the throne. A cardinal believes that “no sane man would want the papacy”. He was crushed when he was refused the bishopric of Rome.

What threatens the “Conclave” is not only the American vote, but also the aging of Pope Francis. The film alludes to divisions within its flock between liberals and conservatives over issues such as the role of women, homosexuality and even the reinstatement of the Tridentine Mass. Vatican observers report that dissent is rife in the Curia and that Francis’ failing health means that St. Peter’s throne could soon be vacant again. The Church is used to crises.

“Conclave” moves at a fast pace and its protagonists are engaging. What he sacrifices in respect and depth, he makes up for with a human touch. Shifting between Latin, Italian, English and Spanish, it depicts the College of Cardinals as a cross between a fraternity, a model United Nations and a synagogue men’s club. Mr. Fiennes is the glory of the film – a manager transformed by the process he is charged with overseeing. THE Fisherman’s Ring put the finger on him?

The film’s ideological sympathies are with the liberals, but Tedesco is its most striking character. He declares that the abandonment of Latin has impoverished the liturgy and fractured the Church and his evocation of a clash of civilizations between Rome and its enemies moves the theater. Tedesco’s awkward vitality reminds us that sometimes sober reform may not be the tonic for the ills of faith in a secular age.

If the film is constructed with the care that Michelangelo brought to “Last Judgment”, the final half hour amounts to launching, let’s say: orange painton the canvas. A terrorist attack and a final revelation destabilize the “Conclave” a little. It would be wonderful, however, to have more films like this, intelligent yet enjoyable, respectful of both the audience’s faith and time – giving back to Hollywood only what is Hollywood’s.