Movie Review: The Phoenician Scheme

At this point in his career, Wes Anderson has become so entrenched in his signature meticulous style that each of his movies only seems to become more beholden to it. That has so far worked out well for his fans, of which I am certainly one, but it also makes it increasingly less likely that he is going to win over his detractors or even those who take a more neutral position on his work. Once again co-written with his frequent collaborator Roman Coppola, his latest continues that trend, only occasionally breaking the mold during brief, Bergmanesque scenes set in Heaven.

Wealthy industrialist Zsa-zsa Korda (Benicio Del Toro) has survived several attempts on his life and so has decided it’s time to put in place a succession plan. He reaches out to his estranged daughter Liesl (Mia Threapleton), who is in training to become a nun, to offer her a trial run as his heir, bypassing his numerous sons. She is confused by the offer but goes along with it anyway and so sets off with him and his administrative assistant, the Norwegian entomologist Bjørn (Michael Cera), to help gather the funding for his final project, known as the Phoenician Scheme.

It takes quite a lot of exposition to set this all up, which means that the beginning third of the film drags a bit, despite Anderson and cinematographer Bruno Delbonnel’s usual striking imagery. Fortunately, once the pieces are in place the pace picks up leading to a quirky and engaging romp throughout a highly stylized rendition of the region that sees the group doing whatever they can to drum up funds while avoiding repeated brushes with death and growing closer to each other.

As usual, Anderson’s all-star cast deliver pitch perfect deadpan performances that still somehow manage to contain at least a touch of relatable humanity. The three leads are especially good fits and would all make welcome additions to his roster of regular actors. It’s a common complaint that Anderson’s movies are cold, aesthetic exercises, though I personally find them to be quite alive and feel the same about The Phoenician Scheme. It may not be a conventionally heart-tugging way to examine our own interest in aging and mortality and the ways it inspires us to want to leave a mark on the world and avoid the pain of loneliness, but that only makes it more appealing to me.

The Phoenician Scheme may not be Anderson’s best work, but it’s still worth buying into. If the film were only an example of stunning production design it would still be worth a watch, but as is usual with his filmography it’s so much more than just a pretty bauble. With his absurdist wit, keen eye, and genuine curiosity, Anderson continues to be one of his generation’s best filmmakers and this is another worthy addition to his already impressive body of work. ★★★★½