A Film Directed by Wes Anderson
Wes Anderson films tend to divide audiences – you either adore them or you just don’t get the hype. Personally, I’ve always found something to enjoy in his work. In a cinematic landscape dominated by cookie-cutter superhero franchises, endless reboots, and bland remakes, Anderson’s films stand out with a style, tone, and visual aesthetic that’s completely his own. That’s why I made sure to catch his newest release, The Phoenician Scheme, in theaters while I had the chance. From the trailer alone, I could tell it had that same quirky, witty magic his films are known for – and I wasn’t disappointed.
“In 1950s Europe, notorious billionaire industrialist Anatole “Zsa‑Zsa” Korda (Benicio del Toro) survives a sixth assassination attempt and realizes his empire—and perhaps his life—are slipping away. Believing his nine sons unfit, he summons his estranged daughter, Liesl (Mia Threapleton), a devout novice nun, offering her the role of heir and partner in his grand infrastructure venture: the titular ‘Phoenician Scheme.'”
In The Phoenician Scheme, Benicio del Toro plays Zsa-Zsa Korda, a wealthy international businessman whose empire spans both infrastructure development and arms dealing. Korda is as cunning as he is unscrupulous, and he’s made more than a few enemies around the world who’d love to see him dead. After narrowly surviving yet another assassination attempt, he decides to finally finish his longest-running developed project – a dam and transit infrastructure venture in the Mediterranean designed to secure his family’s fortune for the next 150 years.
His estranged daughter Liesl (played by Mia Threapleton) has spent years secluded in a nunnery, but Zsa Zsa decides to name her his successor, planning to leave the money to her if one of his assassins should finish the job – she initially balks at this, but only agrees if her father can meet her demands of doing business in a more godly manner. Naturally, things go awry almost immediately, and every step toward securing this legacy becomes increasingly chaotic – especially as Korda’s usual tactics include, among other things, human exploitation and orchestrating famines for profit, all things he tries to move away from to appease his daughter.
I’ve never really considered myself a fan of Benicio del Toro. Maybe I’ve just missed that one great role that defines him – but I have to admit, I really enjoyed him here. He’s hilariously dry, his comic timing is razor-sharp, and I genuinely wish he’d do more comedic roles like this. The ensemble cast is, as expected for a Wes Anderson film, absolutely stacked with talent and full of wild, eccentric characters. There’s no shortage of Anderson regulars, and everyone involved clearly relishes the opportunity to chew the scenery. But what really makes The Phoenician Scheme work is that its absurdity doesn’t veer into slapstick nonsense. Instead, it’s a smart, stylized kind of silliness – one that feels inspired by classic cinema and grounded in well-written dialogue and precise visual storytelling. Mia Threapleton is excellent as Liesl, and Michael Cera, in particular, delivers what might be one of the best performances of his career. For once, he’s not playing the awkward teen or disaffected slacker, and it’s refreshing to see him stretch a bit.
If you like quirky, clever films that don’t take themselves too seriously, I highly recommend checking out The Phoenician Scheme even if you’re not a Wes Anderson diehard. I can’t promise it’ll be everyone’s cup of tea, but I found it to be a wonderfully weird and enjoyable ride.
