Thanks to an intriguing espionage plot, a colorful cast of characters, and a strong central relationship, The Phoencian Scheme is another gem in a treasure trove of a filmography. There’s no other filmmaker doing it like Wes Anderson, and thank goodness he’s already working on his next film.

When you hear the name Wes Anderson, what pops into your head? Maybe you’re thinking of that TikTok trend that went viral a couple years ago. Maybe you’re imagining a perfectly symmetrical shot of a quirky character who is highly intelligent yet emotionally stunted. Maybe you’re picturing an extra large ensemble cast and stories within stories, a trait present in his more recent films. Whatever is coming to mind, there is no denying that Wes Anderson is an auteur known for his unique perspective and style. Anderson came up during the same time as Quentin Tarantino and Christopher Nolan, and like them, has maintained a reputation for distinct filmmaking and respect for the craft. With an eclectic filmography that has skewed towards larger ensembles with intricate anthologies, how does his twelfth feature, The Phoenician Scheme, fare?

For those who have gotten lost within the many layers in one of his more recent films, like The French Dispatch and Asteroid City, The Phoenician Scheme is a return to a linear story form that centers Zsa-Zsa Korda, an incredible wealthy businessman played by Benicio del Toro, who has had a knack for escaping assassination attempts time and time again. After one particular airplane crash, Korda decides to put his scheme to develop the fictional area of Phoenicia into motion and name is estranged, devout daughter Liesl as his sole heir. He won’t let his enemies get the last laugh, nor the profits of his Phoenician plans should he not survive the next attempt on his life. However, throughout his efforts to cover the gap needed, Korda slowly realizes that he doesn’t need an heir– he simply needs his daughter.

Benicio del Toro only recently joined the Wes Anderson troupe in The French Dispatch, and yet he slips into Zsa-Zsa Korda and the fictional Wes Anderson like he’s been there for decades. Del Toro is quick-witted and captures the rhythm of your typical Anderson film, but his humor stands out a bit more than the rest. It’s blunt yet he has the capability to explode and show more anger than recent protagonists, who typically deliver their humor with a more dead-pan delivery. A perfect example of this is when Korda asks Liesl who the anonymous “they” who say that he killed Liesl’s mother are. The frustration starts to mount until finally he exclaims that he’ll sue “they” for libel, which lands comedically and speaks to the nature of a man who is accustomed to getting his way. At the same time, Korda’s guilt begins to haunt him as he has visions of facing God and a biblical council where he’s on trial for his estranged treatment of his daughter. Korda will slip into divulging details about Liesl’s mother in the form of a monologue, and by his gravatas, del Toro commands that attention from you. 

Although the primary focus of The Phoenician Scheme is on del Toro’s Korda, Mia Threapleton’s Liesl, and Michael Cera’s Bjorn, Korda’s business partners and enemies are comprised of his recurring troupe of actors (and several new faces). Recent collaborators Scarlett Johansson, Jeffrey Wright, Stephen Park, Rupert Friend, and Hope Davis are back in brief yet effective roles. Benedict Cumberbatch brings a whimsical menace to Uncle Nubar. A particular highlight in the film is the dynamic duo of Leland and Reagan, played by Tom Hanks and Bryan Cranston. This isn’t the first Wes Anderson film they’ve been in together (in fact, this the fifth movie they’ve both been in), yet seeing them play off each other was the pairing I didn’t know I needed. If Wes Anderson ever wanted to make a buddy comedy of the two of them playing basketball or traveling a fictional country together, we should let him. Another highlight from the same sequence is Riz Ahmed, who joins the Wes Anderson cinematic universe for the first time yet looks like he’s been there for years. He captures the cadence of a Wes Anderson character without becoming a caricature. More Riz Ahmed in the next film, please and thank you!

If there’s an actor who seemed like a no-brainer to enter the Wes Anderson cinematic universe, it’s Michael Cera. Cera has brought a quirky, indie charm to many his popular roles in the 2000s and 2010s, like Superbad, Nick & Norah’s Infinite Playlist, and Scott Pilgrim vs. the World. It felt inevitable that Cera would be in an Anderson film, but it was only a matter of when. The wait was worth it when he stepped into Korda’s palazzo as Bjorn, the new tutor who has a fascination with insects. It’s been said before but worth repeating– Michael Cera was born to be Bjorn. Whether its his charming accent, the wonder in his face when he spots a new bug or looks in awe at Liesl, or his facial expressions in the background of any given scene, Bjorn has the potential to be the new fan favorite across Anderson’s original characters. Anderson shared at Cannes that he’d like to work with Cera again, and after seeing The Phoenician Scheme, this seems like the beginning of a beautiful friendship. 

Not to be overshadowed by Michael Cera, but we can’t discuss The Phoenician Scheme without Mia Threapleton as Liesl. She is the heart of the film and its her influence that changes Korda entirely. While many recent female protagonists in a Wes Anderson film tend to fade to the background, Threapleton holds her own against veterans like del Toro and Cera. She brings the sharp, deadpan humor typically in an Anderson film with a pious edge, due to her character being a nun. Liesl is just as likely to pull out a knife as she is to hold her rosary and pray. It’s a unique duality to character that Threapleton balances, rounding out Liesl as more complex than meets the eye. 

What makes or breaks The Phoenician Scheme is the relationship between Zsa-Zsa Korda and Liesl. Much of Wes Anderson’s filmography explores dysfunctional family structures, such as The Royal Tenenbaums, The Life Aquatic with Steve Zissou, and The Darjeeling Limited. This is the first time he’s made a film primarily about the relationship between a father and daughter. In agreeing to become his heir on a trial basis, Korda and Liesl begin to reconnect and to change each other. For Korda, Liesl softens his shrewd business practices through her pious, unyielding morals; for Liesl, Korda helps her loosen up her rigid lifestyle. Together, they realize what the other person has really needed for a fulfilling life is each other. Del Toro and Threapleton not only play well off each other comedically, but they successfully anchor the emotional throughline of a father and daughter finding their way back to each other.

When you’re watching a Wes Anderson film, you know it’s immaculately made thanks to the team of artisans he’s assembled throughout the years. Whether it’s production designer, Adam Stockhausen, costume designer, Milena Canonero, or composer, Alexandre Desplat, each play an integral role in capturing the whimsy and wonder of Anderson’s creativity. While frequent collaborator, cinematographer Robert Yeoman, was missed, Bruno Delbonnel makes up for the loss by utilizing the Academy aspect ratio for the majority of the film, the ratio most notably used during the 1930 scenes in The Grand Budapest Hotel. 

If there is a knock to The Phoenician Scheme, it comes down to two areas. First is the pacing of the film, especially as it transitions from the second and third act. After Korda, Liesl, and Bjorn are rescued from the jungle by a group of terrorists, you start to feel the runtime of the film that doesn’t even hit two hours. It dips to a brief pause before assembling Korda’s business associates together for the finale. The second issue comes down to its commentary on political power. The Phoenician Scheme is not shy on the oligarchy at play developing Phoenicia, a fictional area that has striking similarity to an area under incredible devastation in real life. However, it’s the use of the Phoenician natives, or lack thereof. For instance, calling the group of robbers “terrorists” at Marseille Bob’s club, or even the absence of the Phoenician king (outside his son). Korda even makes a point of pride to not have a passport or citizenship anywhere. It’s not the point of the overall story, but it’s swept over in an almost dismissive way. There’s more to dig in here, but there are more knowledgeable critics than myself who should explore this in greater detail.

In many ways, The Phoenician Scheme is a throwback to Wes Anderson films from the 2000s with the polish of his more sophisticated aesthetic. Thanks to an intriguing espionage plot, a colorful cast of characters, and a strong central relationship, The Phoencian Scheme is another gem in a treasure trove of a filmography. There’s no other filmmaker doing it like Wes Anderson, and thank goodness he’s already working on his next film. With the film industry teetering towards collapse every day, we need auteurs like Anderson to continue embracing their originality and style.

Grade: A-

Oscars Prospects:
Likely: Best Original Score, Best Production Design, Best Cinematography
Should be Considered: Best Casting, Best Supporting Actor (Michael Cera)

Where to Watch: In Select Theaters