Wes Anderson stands out as a distinctive auteur in contemporary cinema, evoking mixed reactions that range from fervent admiration to playful critique, even sparking viral TikTok trends. For ardent fans of his work, films like The Phoenician Scheme, which recently premiered in Competition at the Cannes Film Festival, are celebrated events. Conversely, detractors find reasons to voice their discontent with each new release. In this latest endeavor, Anderson follows the poignant tones of Asteroid City by presenting a narrative that intertwines a father’s attempt to reconcile with his estranged daughter amidst a mid-century conspiracy.
In many aspects, The Phoenician Scheme represents a noteworthy evolution for Anderson. It is marked by a level of violence—both physical and ideological—that eclipses his previous works. Yet, it retains the quintessential charm of a Wes Anderson film, featuring an extensive ensemble cast, abundant visual humor, and the exploration of familial relationships. Despite its accessibility, critics argue that this film lags behind his earlier triumphs like Asteroid City and The Wonderful Story of Henry Sugar.
Mia Threapleton: A Standout Performance in The Phoenician Scheme
Benicio del Toro as the Imperiled Tycoon Father
One of the film’s most compelling aspects is the performance delivered by Mia Threapleton, who portrays Liesl, the daughter of Benicio del Toro’s character, Zsa-zsa Korda. Korda, a businessman entrenched in peril, tries to reconnect with Liesl, who harbors deep resentment towards him, believing he is responsible for her mother’s death. As she teeters on the edge of becoming a nun, Korda’s unexpected invitation home—to name her his sole heir—creates tension, further complicating both their relationship and his precarious business affairs.
In one of the film’s striking opening sequences, Threapleton and del Toro showcase palpable chemistry, reflective of the delightful interplay commonly found in Anderson’s films. Throughout their adventure, which traverses exotic settings and features an eccentric professor played by Micheal Cera, the narrative heightens with suspense—a rare element in Anderson’s storytelling arsenal. This volatile atmosphere contrasts with the film’s traditional whimsicality and adds layers to the viewing experience.
However, the film’s intricate plot sometimes overshadows its emotional core. While centered on the dynamic of father and daughter aiming to connect under adverse circumstances, the execution falters. Anderson’s signature dry humor traditionally enhances these family narratives, but here it may detract from the gravity of their relationship, leading to a disconnect between the overarching story and the intimate familial elements.
Additionally, the convoluted plot, tied to Korda’s numerous business escapades, complicates the storyline, often leaving viewers struggling to grasp the crux of the action. Nevertheless, familiar Anderson trademarks remain—meticulous attention to detail, notable actors in brief appearances, and the instantly recognizable font choices—all of which contribute to a vibrant cinematic tapestry. Some sequences deliver his signature zaniness, showcasing his enjoyment in directing.
Yet, compared to his past works, there is a notable absence of cohesion in “The Phoenician Scheme“. Anderson’s unmistakable vision occasionally restrains his narrative flow, limiting the potential for character development. Amid fans’ excitement over the film’s lively attributes—its eccentric thrills, satirical performances, and exploratory journey across the globe—the narrative ultimately feels constricted within its own framework.
The Phoenician Scheme, which premiered at the 2025 Cannes Film Festival, is set for theatrical release on May 30.