The Phoenician Scheme

Wes Anderson’s The Phoenician Scheme is a stylish, darkly funny espionage caper that blends family drama, political intrigue, and Anderson’s signature visual flair into one eccentric package. Set in the 1950s, the film follows wealthy arms dealer Zsa-Zsa Korda (played by Benicio del Toro) as he tries to reconnect with his estranged daughter, Sister Liesl (Mia Threapleton), a Catholic novice nun. After a brush with death, Korda names Liesl his sole heir and ropes her into his latest morally questionable business venture—an ambitious and ethically dubious infrastructure project in the fictional country of Phoenicia.

As the scheme unfolds, Korda and Liesl find themselves dodging assassins, outwitting rival tycoons, and navigating a web of betrayals. Along the way, they’re joined by Bjørn, a Norwegian entomologist and Korda’s assistant, who may not be who he seems. The film is packed with Anderson’s usual ensemble of quirky characters, played by a star-studded cast including Michael Cera, Riz Ahmed, Scarlett Johansson, Tom Hanks, Bryan Cranston, and Bill Murray, among many others.

If you’re a fan of Anderson’s previous work—think The Grand Budapest Hotel or The French Dispatch—you’ll likely enjoy The Phoenician Scheme. It’s got all the hallmarks: symmetrical shots, pastel color palettes, deadpan humor, and a meticulously crafted world. The film also dives into deeper themes like redemption, family legacy, and the moral cost of ambition, all while keeping things visually whimsical and narratively offbeat.

That said, if you’re not into Anderson’s highly stylized approach or prefer straightforward storytelling, this might not be your cup of tea. Some critics found the plot a bit too fussy or emotionally distant, and the film’s quirky tone won’t be for everyone.

Still, for those who appreciate a blend of satire, espionage, and emotional complexity wrapped in a visually rich package, The Phoenician Scheme offers a unique ride. With a solid box office performance and generally favorable reviews, it’s another memorable entry in Anderson’s filmography—equal parts absurd, poignant, and beautifully strange.