Have Wes Anderson's films lost their charm?

A refrain circulating in some film circles: Wes Anderson is done. Audiences are tired of his films of planimetric perfection and clear-line detail. The Grand Budapest Hotel turned this filmmaker with a very personal aesthetic into a figure who was both prestigious and very popular, into a director cool for all audiences. His following films, such as the experimental The French Chronicle either the very idiosyncratic Asteroid City They revealed that Anderson is a more daring and complex filmmaker than his luscious images and star-studded casts would suggest.

The Phoenician Plot won't change the minds of viewers who have already given up on following him. But it is Anderson's warmest, most accessible, and most joyful film sinceThe Grand Budapest Hotel. The director takes us on another adventure of classic aromas and Tintin-like color, starring Zsa Zsa Korda (Benicio del Toro), an unscrupulous billionaire whose name evokes these imaginary worlds. Brothers Alexander and Zoltan Korda produced and directed some of the great exotic adventure titles of the 1930s and 1940s, such as The four feathers either The Thief of BaghdadOf Hungarian origin like the Kordas, the unique Zsa Zsa Gabor boasted an exaggerated number of husbands. The Korda of The Phoenician Plot He also had a prolific love life, to the point of amassing a considerable number of offspring. But when it came to thinking about his inheritance, he focused on his only daughter, a nun with whom he began to experience a series of tribulations. The Phoenician Plot presents more defined characters than the previous films, who evolve emotionally, so the evil father is understood as the film progresses. Michael Cera joins the cast troupe Andersonian as a star signing, in the role of the typical young man of charming shyness who becomes the film's scene-stealer.