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THE PHOENICIAN SCHEME

  • Dir. Wes Anderson
  • USA
  • 2025
  • 101 min.
  • PG-13
  • 4K DCP
  • Assistive Listening
  • Closed Captioning
  • Descriptive Audio
  • Hearing Loop
THE PHOENICIAN SCHEME

The story of a family and a family business. Benicio del Toro plays tycoon Anatole “Zsa-zsa” Korda, one of the richest men in Europe; Mia Threapleton is Sister Liesl, his daughter/a nun; Michael Cera is Bjorn Lund, their tutor. Also starring Tom Hanks, Bryan Cranston, Riz Ahmed, Mathieu Amalric, Jeffrey Wright, Scarlett Johansson, Richard Ayoade, Rupert Friend, Hope Davis and Benedict Cumberbatch.

"Greatness and success, THE PHOENICIAN SCHEME suggests, are all well and good. But there’s joy that comes from returning to the three-dimensional world, to a place where you pray or you cook, where a little scotch and a game of cards with friends at the end of a long day means love.” —Alissa Wilkinson, New York Times

“The film dazzles with its trompe-l’oeil-like worldbuilding, which inhabits the fairy tale reality of Anderson’s mind without ever giving over to the wayward indulgence of dream logic.” —David Jenkins, Little White Lies

“[Wes Anderson’s] tender, witty, wondrous THE PHOENICIAN SCHEME is the most Andersonian Anderson film to date – but then again, they all are, and that’s the fun of them.” —Robbie Collin, The Telegraph

“A kaleidoscope of kookiness, with scene after scene amping up the stakes to truly existential levels while still feeling like a series of playground hijinks (basketball net included). It’s a film that’s filled with so many wonderful moments that it’s a joy to behold, and even at its darkest it unfolds with a sense of radical frivolity.” —Jason Gorber, Paste Magazine

"There’s something Hitchcockian about Anderson — albeit in reverse. Hitchcock’s movies stylize violence; Anderson makes style violent. In film after film, his onscreen ideal of beauty embodies the spirit of opposition and revolt.” —Richard Brody, The New Yorker

"It's become customary to describe a new Wes Anderson movie as "more of the same," but it says something about the sheer richness of his visual imagination that he can make two movies set in roughly the same era that look and feel nothing alike.” —Justin Chang, NPR 

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