‘Phoenician Scheme’ weaves style and espionage

With awry sense of humour, The Phoenician Scheme deliversa captivating narrative driven by meticulously staged scenes and rich sound design. These elements are all unmistakably shaped by the signature style of award-winning director Wes Anderson. The black comedy is co-written with Roman Coppola.

The movie is releasing in Ster-Kinekor cinemas, select Nu Metro theatres, and The Bioscope today (30 May 2025). It premiered in the main competition at the 2025 Cannes Film Festival on 18 May 2025.

The Phoenician Scheme features espionage and satire with Anderson’s distinct use of deadpan dialogue and emotionally restrained yet whimsical characters. It is set against a plot laced with quiet humour and melancholy. While it consistently elicited a knowing smirk, it seldom tipped into laugh-out-loud territory.

The story follows industrialist and arms dealer Zsa-Zsa Korda (Benicio Del Toro), who names his estranged daughter (Mia Threapleton) as heir to his estate while launching an ambitious infrastructure project. Their plans quickly draw the attention of rival tycoons, extremist factions, and hired assassins. As Korda fights to keep his vision alive, he faces financial sabotage, shifting allegiances, and eccentric allies across a series of tense and surreal encounters.

Photo courtesy United International Pictures.

Anderson has directed several acclaimed films, including The Grand Budapest Hotel and Fantastic Mr. Fox. His style features meticulous visual composition, symmetrical framing, and distinctive colour palettes – all on full display in The Phoenician Scheme.

At times, it felt like watching a painting come to life: each frame telling its own story while gently moving the plot forward. Moments that could have been fleeting were extended with a dreamlike pace, yet never felt overstretched. In one such scene, Korda reclines in a bathtub while silent attendants tend to him. The sequence unfolds slowly but not unnaturally, as each figure moves with calm purpose, performing small, deliberate tasks that add richness without breaking the stillness.

This energy carries through the film, as interactions with new characters unfold in similarly composed moments. Each encounter is layered with subtle tension and rich visuals. Rather than rushing from one revelation to the next, the film allows each scene to breathe, letting personalities emerge through tone, gesture, and timing, even when characters appear only briefly.

However, several scattered scenes left me feeling confused, their purpose only becoming clear later in the film. While others might piece them together more easily in retrospect, the eventual ‘Aha’ moment felt underwhelming rather than rewarding. Still, this collection of moments proved essential, ultimately deepening my appreciation for Korda’s character development.

The movie unfolds in a carefully constructed world with emotional nuance, supported by intricate set design and a curated score. From the beginning, music and ambience are strong driving forces of feeling. The soundtrack is composed by Alexandre Desplat, a longtime Anderson collaborator who has worked with him on several projects and has won multiple awards, including Academy Awards, BAFTAs, Golden Globes, and Grammys.

Del Toro leads with quiet command, delivering a strong performance that consistently leaves viewers anticipating his next move. This is complemented by Threapleton, who weaves intrigue and momentum into the unfolding story. Together, their back-and-forth interactions create a compelling dynamic.

Yet it’s Michael Cera, as Liesel’s tutor Bjorn, who brings a distinct layer to the film. His subtly timed humour, clearly shaped by Anderson’s direction, adds texture to the story’s rhythm and tone. Still, his contribution works precisely because it plays off the ensemble’s steady presence – it’s a standout that depends on the whole.

Anderson balances theatrical precision with introspective storytelling, using The Phoenician Scheme to explore themes of legacy, loyalty, and reinvention through his unmistakable lens.

The production features a lineup of industry heavyweights. The cast includes Tom Hanks, Bryan Cranston, Jeffrey Wright, Scarlett Johansson, Benedict Cumberbatch, Rupert Friend, Hope Davis, Riz Ahmed, Mathieu Amalric, and Richard Ayoade.

The Phoenician Scheme is an international co-production between the United States and Germany, produced by American Empirical Pictures and Indian Paintbrush.

* Jason Bannier is a data analyst at World Wide Worx and writer for Gadget.co.za. Follow him on Bluesky at @jas2bann.