What makes a Wes Anderson movie a “Wes Anderson movie?” This is a question the American director himself has been asking across his most recent releases, especially his last outing on the silver screen, 2023’s “Asteroid City.” A film which divided both critics and audiences alike so deeply that a discussion began across the cinema world that Anderson could not continue to find mainstream success with his specific bohemian style. In his latest release, the sprawling and introspective “The Phoenician Scheme,” Anderson seamlessly examines what his style means, along with dispelling that conversation almost entirely. An incredible ride with deep characterization and, though being more accessible than his previous outing, still an uncompromising testament to the Anderson style of filmography.
“Asteroid City,” fully embraced the theater background behind Anderson’s work and asked viewers to navigate meta-narratives through the stilted characters his films are well-known for. There are elements of this psychological, or even partly psychedelic, side of Anderson in “The Phoenician Scheme,” but overall, this film harkens back to an older era in Anderson’s filmography. He returns to a more grounded narrative centered on the exploits of Anatole “Zsa-zsa” Korda (Benicio del Toro) in his efforts to create a mega-project out in the fictional nation of Phoenicia.
This, however, does not derail the film at all. Instead, The Phoenician Scheme is bursting with action. The first scene opens with a soft vignette of protagonist Zsa-zsa on his private jet before it spirals into chaos as his unnamed assistant is blown in half by a would-be assassination attempt. Unlike the rest of Anderson’s work, the film directly shows the exploits of one of his acclaimed eccentric and worldly characters, rather than explaining it through exposition. We, the audience, do not just hear the adventures of Zsa-zsa as background to explain why he is the way he is, but instead see them and understand how such a morally gray and peculiar man operates. From offering acquaintances hand grenades, to micromanaging others whilst decorated in rags from injuries, to the hilariously witty catchphrase of “myself, I feel very safe” in dire situations, the whole breadth of Zsa-zsa’s characterization is explored by the final scene. He is equally calm, explosive, emotionless, humane and vulnerable.
It also helps that accompanying Zsa-zsa is his daughter, the nun Liesl (Mia Threapleton), and the bug-obsessed tutor-turned-adventure secretary Bjorn (Michael Cera). This big three is the Wes Anderson equivalent of Pat Riley getting LeBron James and Chris Bosh to join Dwayne Wade on the Miami Heat back in 2010. Cera has long been a dream casting for the awkward dialogue and calculated actions within the Anderson style, yet he still somehow exceeds expectations by being both silly, deeply moving and entertainingly suave. But the real breakout performance in this film is Threapleton. Her subtle performance is unflinching, from her mild-mannered movements to her precise, calm British accent and vocal tone. She is deeply commanding in her role, perfectly complementing the veteran performance Toro puts up.
At certain moments, it really clicks: Great writing meets stellar performances and flawless characterizations. Yet, they are still unmistakably Wes Anderson characters who always stand vertically upright in the middle of the frame. The direct line deliveries and awkwardness that accompany nearly everything surrounding them, which you can either love or hate, are a barrier to entry for the average viewer. For example, the religion-fueled scenes set in a pseudo-Christian heaven that act as interludes throughout the film could be seen as either an eye-opening character study or Anderson insisting on himself and his style to an obnoxious degree.
But how does it look? “The Phoenician Scheme” is a phenomenally cinematic film and, in a wonderful departure from many modern films, deeply and diversely colorful across scenes that are not just shot well, but composed in a way to illustrate the precise goals of both the film’s direction and characters within. The lighting and set design are detailed but occasionally archaic, switching between uncanny otherworldly planes of existence like the religious interludes, tightly designed areas including the Korda private jet, and expansive, lavish environments like the Anatole mansion. Various scenes are standouts, such as the tightly shot and hilarious conversation between Zsa-zsa and the wealthy and comically precise Marty (Jeffrey Wright) or the game of HORSE against Leland (Tom Hanks) and Reagan (Bryan Cranston). One of the more fun things about this stage of Anderson’s career is his ability to plug in A-list character actors, such as Willem Dafoe, Benedict Cumberbatch, Bill Murray and Scarlett Johansson, into smaller but more focused roles that verge on cameos in beautiful scenes. My favorite cameo, though, is the overly cocky revolutionary soldier Sergio (Richard Ayoade).
Overall, “The Phoenician Scheme” treads the line delicately but successfully between “another Wes Anderson film”—including all the pros and cons that come with such a polarizing director—and the natural experimentation that comes with trying to create great art. It shows that, even in as weird a time for movies as 2025 is, you can have an entertaining film that does not compromise on its style and ability to connect with the viewer on a deeper level. It remains to be seen how this film will look in a few years, but I would guess it will rank somewhat highly in Anderson’s discography. Myself, I feel safe saying that.