Wes Anderson’s latest film, The Phoenician Scheme, is a vivid, quirky concoction that blends dark humor, intricate plotting, and a star-studded cast into a globe-trotting adventure set in the 1950s. Starring Benicio Del Toro as Anatole “Zsa-zsa” Korda, a shady industrialist who narrowly escapes his sixth plane crash, the film explores themes of family, power, and legacy through the unlikely relationship between Korda and his estranged daughter, Liesl, portrayed by Mia Threapleton.
The film opens with a bang—literally—as Korda’s assistant is blown in half during an assassination attempt aboard his private jet. Yet Korda survives the crash landing, ejecting his pilot and commanding his own rescue while debating whether to crash into a corn or soybean field. This audacious pre-credits sequence immediately sets the tone for the film’s blend of suspense and absurdity.
Recovering at his lavish estate, Korda summons Liesl, a young would-be nun he sent to a convent at age five, to be his sole heir and avenger. Despite having nine sons, none are deemed suitable heirs, a mystery that Liesl confronts head-on, questioning her father about the family dynamics and the fate of her mother. Their reunion is awkward and charged, with Liesl’s dry, deadpan delivery—brought to life by Threapleton’s compelling performance—providing the emotional core of the film.
Accompanying Korda and Liesl is Bjørn, a tutor and insect expert played by Michael Cera in his first Wes Anderson role. Cera’s portrayal is a standout, his quirky Norwegian accent and rubber-limbed goofiness injecting a fresh energy into the film. Bjørn’s attempts to charm Liesl and his transition from tutor to personal valet add a layer of comic relief amid the film’s complex narrative.
The titular Phoenician Scheme is a sprawling, somewhat corrupt infrastructure project involving a massive tunnel and hydroelectric dam in a vaguely defined Middle Eastern region. Korda’s vision is grand but precarious, relying on securing investments from a rogues’ gallery of eccentric characters. These include the Sacramento Consortium represented by Tom Hanks and Bryan Cranston, French nightclub owner Marseille Bob (Mathieu Amalric), Newark Syndicate leader Marty (Jeffrey Wright), and Korda’s distant cousin Hilda (Scarlett Johansson). The film’s intricate plot thickens with the inclusion of Uncle Nubar (Benedict Cumberbatch), Korda’s nefarious half-brother who may be responsible for the murder of Liesl’s mother.
The journey to secure funding is peppered with assassination attempts, CIA sabotage, and surreal dream sequences featuring Bill Murray as God and F. Murray Abraham and Willem Dafoe as other celestial figures. These moments, while whimsical, underscore the film’s meditation on mortality and legacy. Korda’s character, inspired in part by real-life Armenian oil magnate Calouste Gulbenkian and Wes Anderson’s own father-in-law Fouad Malouf, is portrayed with a sly, magnetic charm by Del Toro. His performance balances the character’s ruthless past with moments of vulnerability, particularly in his evolving relationship with Liesl.
Threapleton’s Liesl is a striking presence—a chilly novitiate with bold eye shadow and a penchant for finer things—who gradually warms to her father and Bjørn. Her portrayal brings unexpected gravitas to the film, grounding its elaborate aesthetic and labyrinthine plot in genuine human emotion. The dynamic between Korda and Liesl emerges as the film’s beating heart, offering a glimpse into reconciliation and the complexities of family ties.
While the film’s meticulous production design, including its picture-book aesthetic and carefully crafted chapter cards, will delight Wes Anderson’s ardent fans, the plot’s complexity can become exhausting, with some critics finding it less emotionally engaging than Anderson’s best works like The Grand Budapest Hotel or Asteroid City. Nonetheless, the film’s boxy 4:3 cinematography by Bruno Delbonnel and Alexandre Desplat’s classical-influenced score provide a rich sensory experience that complements the director’s distinctive style.
The Phoenician Scheme also features a parade of cameos and memorable performances from Anderson’s regular collaborators and newcomers alike. Richard Ayoade’s deadpan delivery as freedom fighter Sergio fits perfectly within the film’s tone, while Michael Cera’s exuberant Bjørn steals many scenes. Benedict Cumberbatch’s Uncle Nubar engages in slapstick fights and adds to the film’s blend of dark humor and intrigue.
The film’s tone is more comedic and action-packed than philosophical, with a series of silly stunts and international intrigue that make it one of the summer’s most delightful action-comedies. Yet beneath the surface, it offers a subtle commentary on wealth, power, and the human desire for legacy. Korda’s repeated assurance, “Myself, I feel quite safe,” becomes a poignant refrain as he confronts his mortality and the consequences of his morally dubious empire.
Critics have given the film a mixed reception, rating it alongside Anderson’s weaker recent efforts such as The French Dispatch, but still acknowledging its inventiveness and entertainment value. It premiered in competition at the Cannes Film Festival in May 2025 and is now showing in cinemas worldwide, including AMC Boston Common, South Bay Center, Causeway, Alamo Drafthouse Seaport, Landmark Kendall Square, and Coolidge Corner Theatre.
Interviews with the cast at the Mandarin Oriental in New York revealed a deep admiration for Anderson’s direction and the film’s unique charm. Threapleton, daughter of Kate Winslet, was praised for her captivating performance, while Del Toro and Cera spoke warmly about their experiences working with the director.
Ultimately, The Phoenician Scheme is a film that wears its Wes Anderson signature proudly, blending meticulous artistry with a quirky narrative and a star-studded cast. It may not fully capture the emotional depth of Anderson’s finest films, but it offers a refreshingly original adventure filled with humor, heart, and a touch of melancholy. As the final scenes reveal a surprisingly moving father-daughter reconciliation, viewers are left pondering whether even the most flawed of men can find redemption in small acts of connection and service.
