In the world rental, Wes Anderson’s film “Phoenician Scheme”, first shown at the Cannes Festival of 2025, was released. Benisio Del Toro plays a businessman of the adventurer, Mia Tripplon-his daughter and business affiliation Lizl. Their third companion on business trips is the Swedish entomologist Bjorn, the character of Michael Serya. Anton Dolin was surprised to find that Anderson was still able to tell fascinating stories with complex heroes – although the director seemed to have already lost this skill in his previous works. In his twelfth film “Phoenician Scheme”, Wes Anderson was using a widespread theatrical technique: the characters scream at each other, exchanging his arguments and curses, and their speech is lost in general indistinguishable hum. Perhaps this meaning did not exist at all, before us is a skillful imitation. That is how many relate to the cinema of the famous Texas (however, living in Paris for a long time), capable of collecting a record number of stars of the first magnitude in the frame, to arrange them in a complex geometric order, to tell the public teeth not devoid of wit dialogues – and ultimately say nothing. The “Phoenician scheme”, the very exhausted name of which tunes in a dull way, suddenly turns out to be an exception to the rule. Along with the Kingdom of the Complete Moon and the “Grand Budapest Hotel”, this is one of the most touching, fascinating and intelligible films of the cult director. Despite the usual artificial scenario design and irritably meticulous design, the “Phoenician scheme” is simply interesting to watch. The first reason is elementary: there is a sequential plot and the main character moving forward. Not a polyphonic crowd, in which it is impossible to hear anyone, but an exceptionally colorful person-a magnate and an adventurer, a megaloman and an egocentric, the criminal and philanthropist Anatole “JJ-Ja” the cord. Rarely to anyone Anderson gave such full and expressive roles as here – Benisio del Toro, who, in turn, had not yet had so grotesque characters in his filmography. Real prototypes of the cord -, Stavros Niarhos, Galust Gulbenkean; Kinematographic prototypes – born by the genius of Orson Wells and Mr. Arkadin; Acting landmarks del Toro – Jean Gaben or Anthony Quinn. Anderson also claims that he was inspired by the life and personality of his father -in -law, the Lebanese businessman Fuad Maluf. His memory is dedicated to the film. In the opening stage of the film, the cord is experiencing a sixth attempt on life – the crash of an airplane in which he miraculously manages to survive. For the first time, the reckless cynic thinks about the eternal, falling into a black and white vision of the afterlife (the inserts allowed Anderson to invite an extra-iconic artists to the film, from William Defo and Charlotte Hensbur-it seems that the hint of Antichrist Lars von Trier-to the beloved Bill Murray in the role of the Lord God). The cord decides to appoint his eldest daughter from his first marriage Lizl by the heiress of her condition and all affairs. The problem is that she decided to become a nun and does not feel a great desire to throw a spiritual path or communicate with her father who had left her. This line clearly refers to Bunuel, abundantly quoted in the “Phoenician scheme” – Anderson here is more than ever close to the aesthetics of surrealism and absurdity. The role of an impenetratively unperturbed Lizl, indifferent to secular temptations, is played by Mia Tripplon, 24-year-old daughter Kate Winslet, not at all like an acting temperament, but inherited her charisma and talent. The dynamics of the relationship of the father-prisoner and daughter, harmoniously combining virtue with a realistic view of things, forms the unique charm of the “Phoenician scheme”. We can say that these two (both characters and performers) create an internal conflict of a kind of superficial picture – between the capitalist greed that imitates pragmatism, but completely crazy, and Christian idealism, in fact more rational. In the course of a joint journey through a modern – unlimited, mainly imaginary space between post -war Europe, Africa and Asia, father and daughter will come closer. He unexpectedly learn love and mercy for himself, she will show business grip and strategic thinking. The Phoenician Scheme is built as a novel in several chapters or a comic book in several volumes. Corda and Lizle travel through exotic landscapes, meeting business partners in technological projects, and are trying to convince everyone to take financial risks on themselves. The third comrade in adventures is the Swedish entomologist Bjorn Lund, a kind of Paganel (Michael Sera turned out to be an ideal actor for the Universe of Wes Anderson). The Trinity of Wanderers during the Burlesque adventures is found, enlightened Prince Faru (Reese Akhmet), pragmatic Basketbolistic brothers Liland (Tom Hanks) and Reagan) (Brian Krenston), French mafioso and holder of the nightclub Bob Marseille (Mathieu Amalric), American investor-refinery Marty (Jeffrey Wright), enlightened terrorist Sergio (Richard Ayoadi), as well as Cordi relatives-building a utopian kuzin Hilde (Scarlett Johansson) and demonic) and demonic Uncle Nubar, in which “biblical is more than human” (Benedict Cumberbatch with an unimaginable beard). The tiring, although presumably cheerful chaos of the director’s recent works, fragmented, overpopulated and overwhelmed-“French messenger”, “city of asteroids” and multi-part telehalmanac in prose by Roald Dal-is replaced by a “Phoenician scheme” by a linear story, however, is still imprisoned. Comfortable retroesthetics resembles a series of graphic novels by Erzhe about the adventures of the Belgian reporter Tintin, which is emphasized by visual and especially color solutions of the new operator for Anderson. The ingenious Bruno Delbonnel a quarter of a century ago, in the work on Amelie, demonstrated the necessary perfectionism and humor. The original soundtrack of the permanent co -author of Anderson, another Frenchman, inventive Alexander Despla, was more than appropriately added to the music of Stravinsky ballets. The “Firebird” seems to remind of the fabulous conventionality of the plot, “parsley”-the traditions of the Plutovsky novel, “Apollo Musaget”-about the desire for classical harmony in the cracked world (the ballet was written after the First World War, the film was assigned to the first decade after the Second World War). Wes Anderson himself, for whom the premiere of the “Phoenician scheme” coincided with an honorary exhibition-retrospect in the Parisian synemeete, for the first time appears here not an aging boy who is trying to get rid of his infantility, but by a mature classic. And in the plot structure, he obviously associates himself not with the younger generation of characters, but with refusing (for the time being) to grow up with a cord, who will still learn to take responsibility for others. It’s time to recall that the director is raising his daughter – and, apparently, for the first time he decided to tell about this experience in a slightly veiled form. “City of Asteroids.” We no longer believed in this, but Wes Anderson made a convincing and integral film is a comedy of love for space, which is full of decorations and superstars. And this time everything is in the place of the “city of asteroids.” We no longer believed in this, but Wes Anderson made a convincing and integral film is a comedy of love for space, which is full of decorations and superstars. And this time everything is in place (Tagstotranslate) News
