Anderson's Potent Take on the Paternal Bond

One of the biggest complaints about Wes Anderson is that his films, down to their smallest detail, exude pretension. His newest film, The Phoenician Scheme (2025), is like sitting in a philosophy seminar, or perhaps more fittingly, an art history seminar, listening to privileged undergrads overanalyze the importance of an orange in an ancient still life. Not only does it feel like the movie is made for the overqualified, worldly cinephile, references so niche and unsuspecting that they fly over any regular viewers head unnoticed, but every aspect of the film feels as though at first, viewers should be confused, only to suddenly understand that small, humorous quip as they exit the theatre. What I enjoy about Wes Anderson is that he reminds me why these undergrads, myself included, are the way we are. Even though I can easily point out the hilarity of the obnoxious, self-absorbed liberal arts students as they discuss Aristotle's word choice, I watch Anderson’s films and understand the enjoyment they wrench from their tireless discourse. It's fun trying to work out things that don't seem to have any real purpose, although I had less fun doing this with The Phoenician Scheme than I usually do. The emotion within Anderson’s films is a crucial part of this dynamic. It hides and slowly thrives behind the film's more notable features. The message doesn't hit you over the head with a brick, leaving you reeling and stunted, but it creeps up on you, yours to find. When you do find it, lost within the picturesque visuals and monotonous dialogue, it means more to you because you had to work to feel it. I find Anderson’s other films to thrive in this space; his vignette-like storytelling all melds together to create his own little pocket of existence and emotion, and often, this space isn't everyone's cup of tea, or perhaps not everyone is capable of finding it.