Quirk and Heart in a Delightful Family Drama
Wes Anderson’s latest live-action offering, The Phoenician Scheme, encapsulates everything we have come to adore about his filmmaking style: a dazzling tapestry of eccentricity, absurd humour, and bittersweet storytelling. Set against the peculiar backdrop of a family and its faltering business venture, Anderson masterfully intertwines tenderness with the kind of whimsical chaos that has become his signature.
From the opening moments, The Phoenician Scheme submerges viewers into a world only Wes Anderson could conjure—an idiosyncratic realm that feels almost detached from reality yet deeply rooted in emotional truths when wealthy businessman Zsa-Zsa Korda (Benicio Del Toro) appoints his only daughter (Mia Threapleton), a nun, as sole heir to his estate. As Korda embarks on a new enterprise, they soon become the target of scheming tycoons, foreign terrorists, and determined assassins.
The film revels in its absurdities, from a family business that deals in impossibly specific antiquities to a series of ludicrously ill-timed schemes that unravel in spectacular fashion. Anderson’s attention to detail shines through in every corner of this world, made vivid by his symmetrical compositions, pastel colour palettes, and meticulously curated props.
As always, Anderson’s cast feels like a gallery of living caricatures, each painted with peculiar brilliance. The family at the heart of the story is a motley crew of vivid personalities: the over-analytical patriarch with an obsession for Phoenician artefacts, the rebellious daughter with a penchant for culinary experiments, and the youngest sibling who communicates exclusively through cryptic haikus. Supporting characters, like the hilariously incompetent business advisor and the enigmatic neighbour who seems to know too much, add layers of humour and intrigue.
The performances are, predictably, pitch-perfect, with Anderson regulars delivering their lines with the deadpan precision that heightens the absurdity. Newcomers to the Anderson universe meld (Tom Hanks and Bryan Cranston) seamlessly into his quirky rhythm, bringing fresh energy to what could have been an overly familiar ensemble.
At its core, The Phoenician Scheme is a simple tale—a family struggling to save its business while rediscovering what truly binds them together. The narrative is as fast paced as it is silly, filled with comedic mishaps, exaggerated confrontations, and surreal twists. Yet beneath the surface lies a touching exploration of familial bonds, the weight of legacy, and the absurdity of human ambition.
The simplicity of the plot is its greatest strength. Anderson doesn’t overcomplicate; instead, he uses the absurd scenarios as a mechanism to dive into heartfelt moments—a tender apology over a burnt dinner, a whispered confession in a room filled with ancient relics, or a shared laugh amidst absolute chaos. It’s in these moments that the film transcends its quirk and becomes profoundly human.
While The Phoenician Scheme doesn’t break new ground in Anderson’s oeuvre, it feels like a culmination of his finest elements. The visual language is as meticulous as ever, the humour delightfully offbeat, and the emotional beats unexpectedly resonant. The film doesn’t attempt to revolutionise storytelling. Rather, it polishes and perfects what Anderson does best: crafting a world both ridiculous and relatable, where every character’s peculiarities feel like exaggerated reflections of our own.
The Phoenician Scheme is a delightful journey through Anderson’s kaleidoscopic imagination. It’s a colourful, fast-paced, and absurdly entertaining film that manages to balance silliness with heartfelt storytelling. Fans of Anderson’s work will find comfort in its familiar quirks, while newcomers might be charmed into exploring the director’s intricate cinematic universe.
Whether you come for the humour, the visual artistry, or the touching moments, The Phoenician Scheme delivers with characteristic flair and just the right amount of eccentricity, making it a must-watch for anyone who appreciates the art of the absurd.
See it in cinemas from May 30.
-Dirk Lombard Fourie