It goes without saying that Wes Anderson is an acquired taste.

For many, he’s beloved for his strange and unique visuals. For others, his films remain a bit of an enigma. But, even though his latest work, The Phoenician Scheme, has all the tropes that make him stand out, there’s something underneath that makes it slightly more accessible (and, as a result, enjoyable) than his other films.

In The Phoenician Scheme, Zsa-zsa Korda (Benicio del Toro) is a wealthy businessman with a sketchy past, to say the least. Having dodged his most recent assassination attempt, Korda decides to name his own daughter Liesl (Mia Threapleton), a nun, as his sole heir. However, as Korda embarks on a new venture that he believes will properly secure his legacy, Leisl follows suit. Believing that Korda knows the man who killed her mother, she stays close to her father in the hopes of seeing justice finally done. However, they soon become the target of international terrorists and tycoons who would do anything to prevent Korda from completing his goal.

(L to R) Benicio Del Toro as Zsa-Zsa Korda, Michael Cera as Bjorn and Mia Threapleton as Liesl in director Wes Anderson’s THE PHOENICIAN SCHEME, a Focus Features release.
Credit: Courtesy of TPS Productions/Focus Features © 2025 All Rights Reserved.

It’s worth noting that, for those that aren’t fans of Anderson’s work, Scheme does little to change your mind. All of Anderson’s signature style is fully on display here, including expressionless performances, panning cameras and perfectly symmetrical cinematography. While it’s undeniable that this sort of filmmaking is visually stunning, it does seem intentionally designed to keep the viewer at a distance and can leave them cold. (And, to be perfectly honest, that usually describes my experience with his work.)

Similar to some of Anderson’s other works, his colours on this film are warm but decidedly muted. Bathed in blacks and beiges, Scheme seems perpetually stuck in neutral (colours, that is). However, this also fits the generally reflective mood of the piece as Korda uses his last ‘mission’ to build a lasting legacy.

And it’s on that level that Scheme actually drew me in unexpectedly. There’s a pensiveness about del Toro’s Korda that makes him intriguing, even under Anderson’s unique directorial sensibilities. Here, del Toro’s quirkiness feels like a cover for his deeper questions. After all, Korda’s multiple dalliances with death have caused him to wrestle with the summation of his life’s work. His attempt to reconnect with Liesl seems to be an attempt to make amends for a life of neglect. (In fact, the film also features multiple conversations with hosts of the heavenly realm as well.) In addition, his dedication to his project seems rooted in his interest in rewriting his own narrative. Korda knows that his life will come to an end eventually. And he wishes to be remembered for more than his failings.

(L to R) Benicio Del Toro as Zsa-Zsa Korda and Mia Threapleton as Liesl in director Wes Anderson’s THE PHOENICIAN SCHEME, a Focus Features release.
Credit: Courtesy of TPS Productions/Focus Features © 2025 All Rights Reserved.

Whether or not that’s possible is another thing entirely.

After all, Korda has a mound of skeletons in his closet, so many in fact that his list of enemies far outweighs his list of friends. But this is also what makes his relationship with Liesl so fascinating. While he seeks to pass off his vast fortune to his daughter, she also almost becomes his confidante. Although he generally keeps his secrets close, he slowly discloses his stories to her, as if in some form of confessional. To Korda, Liesl becomes both daughter and priest as he makes an effort to confront his past on several fronts.

Credit must be given to some solid (well, Anderson-ian) work from young Threapleton as Liesl. With a stoic demeanour, Threapleton keeps Liesl on the edge of both calm and fury. Her greatest desire is to spend a life of spiritual service but so too does she seem to enjoy her dalliance with her family’s ‘dark side’. She’s suddenly immersed in the corrupt and seems more willing to make compromises along the way.

Mia Threapleton stars as Liesl in director Wes Anderson’s THE PHOENICIAN SCHEME, a Focus Features release.
Credit: Courtesy of TPS Productions/Focus Features © 2025 All Rights Reserved.

Even so, she still feels like a suitable foil to del Toro’s burdened Korda. Threapleton gives Liesl an empathy that holds her together, even with the anger that she holds onto within her heart. Together, they become a fascinating duo as both attempt to mentor the other, bearing one another’s shortcomings and giving them space to grow. (It’s also worth noting that Cera’s Bjorn Lund also serves as a suitable foil for the trio.)

On this level, Anderson’s latest makes itself particularly interesting. There’s a sense of self-reflection that gives the character’s journeys pause, even if they remain emotionally distant from the viewer. Is it possible that the veteran filmmaker is beginning to look back upon his life in the search for meaning? Potentially. However, whether or not you’re willing engage the questions in this Scheme stems entirely from the viewers willingness to sit and watch his films in the first place.

The Phoenician Scheme is available in theatres on Friday, June 6th, 2025.