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wes anderson draws on venetian palazzos and painted illusions for the phoenician scheme

After its premiere at the Cannes Festival 2025, in competition for the Palme d'Or, Wes Anderson's The Phoenician Scheme unveils an opulent fever dream of mid-century European power, industry, and family dysfunction. Focus Features opens the film in select US theaters on May 30th, 2025, with a wide release following on June 6th. Beyond Benicio del Toro's magnetic turn as Anatole 'Zsa-zsa' Korda, a 1950s tycoon who survives his sixth plane crash, the film is a love letter to craftsmanship, practical effects, and the immersive possibilities of set design. Shot almost entirely at Studio Babelsberg in Potsdam, Germany, Wes Anderson's tenth feature film transforms its soundstage locations into a total cinematic spectacle. 'It was going to be a movie made on a soundstage,' he explains. 'I knew the stages.' This is Anderson's most extensive use of studio environments yet, and his collaboration with production designer Adam Stockhausen delivers a visual world inspired by illusory marble walls and columns, found in Venetian palazzos and Berlin villas. images courtesy of Focus Features Adam Stockhausen's set design draws from venetian palazzos Production designer Adam Stockhausen, Anderson's longtime collaborator on Moonrise Kingdom, The Grand Budapest Hotel, Isle of Dogs, The French Dispatch, Asteroid City, and the short film The Wonderful Story of Henry Sugar, returns to the filmmaker's signature world of symmetry, theatricality, and obsessive detail. For this film, The Phoenician Scheme, the American production designer orchestrated an ever-shifting mosaic of spaces to house Zsa-zsa's sprawling ambitions and inner contradictions. 'There were several key references,' recalls Stockhausen. 'Probably the most important were inspired by Calouste Gulbenkian's Paris house and a palazzo in Venice. There are actually a couple of locations, of course, but mostly just as a basis for builds.' For the grand entrance gallery, the team visited castles and villas around Berlin. 'Many had trompe l'oeil marble walls and columns of remarkable craftsmanship,' adds producer Jeremy Dawson. 'So we decided to replicate that, not as a fake version of the process, but in the same real hand-painted way it had been done originally, back then.' Read More Video: How Does DRAM Work? The interior of Zsa-zsa's grand residence sets the tone with its marble walls, burnished brass, and priceless art, curating the life of a collector-king. Anderson and art curator Jasper Sharp secured loans from institutions including the Hamburger Kunsthalle and the Nahmad and Pietzsch collections. Renoirs and Magrittes sit alongside 14th-century wood carvings, brought in under strict white-glove supervision. 'Several people that I approached hung up the phone laughing,' recalls art curator Jasper Sharp. 'But a combination of curiosity and the sense of adventure won out.' One standout piece, a Renoir once owned by actress Greta Garbo, now sits above Liesl's bed— 'the perfect foil to the madness going on around it.' Benicio del Toro and Mia Threapleton as Anatole 'Zsa-zsa' Korda and Sister Liesl custom props by cartier, dunhill, and prada The production's approach extended far beyond wall treatments. The infrastructure model of Korda's land-and-sea scheme was designed by Simon Weisse, who previously built the miniatures of Wes Anderson's The Grand Budapest Hotel. This time, the model had to be strong enough for Benedict Cumberbatch to scale and fragile enough to be blown apart. 'We practiced in the parking lot,' remembers producer Jeremy Dawson. 'Simon and his model-making team spent the entire shoot building the thing and we blew it up on nearly the last day.' Design details sneak into every frame. Erica Dorn and Lucile Gauvain led the graphics team behind the hieroglyphics in the Egyptian Revival ballroom, while Milena Canonero's costumes carried Anderson's signature stylization from hat to shoelace. 'Working with Wes on the costume design, one has to enter into a special frame of mind,' observes Canonero. 'It's a very sophisticated concept that has to fit together with the art direction and photography and performances like a hyperreal jigsaw puzzle.' Del Toro agrees. 'Wes's writing, a little bit of me, and Milena's wardrobe,' he comments. The practical effects team (Nefzer Special Effects) grounded the visuals in physical texture, using a puppet was used for the dragonfly on the window, cotton balls for clouds, and rear projection skies. 'Adam's production is just crazy,' remarks del Toro. Even Liesl's Cartier-crafted gift, her Dunhill corncob pipe, and her Prada rucksack were custom-made, drawing on Zsa-zsa's obsession with bespoke legacy. ' What would Zsa-zsa get for Liesl? He would have Cartier do it, so we asked, and they did it for us,' says Anderson. Read More Croma furniture collection by Lagranja Design for Systemtronic Adam Stockhausen delivers a visual world inspired by illusion marble walls haus 5 renamed in tribute to the filmmaker's visual legacy Studio Babelsberg, already legendary for hosting Fritz Lang's Metropolis, fully embraced the production. After The Phoenician Scheme's filming, the Haus 5 building, which hosts costume and production design offices, was officially renamed The Wes Anderson Building. 'Walking around the spaces for the first time, I don't think I will ever, ever forget that feeling,' admits Mia Threapleton. ' I don't know how [Adam] did what he did. I don't know how his brain does what it does.' Through physical design, The Phoenician Scheme is a maximalist opera of control and collapse, where every detail reveals something about Zsa-zsa's inner workings. As Anderson puts it: 'Our film is about a man who is like a mountain.' the interior of Zsa-zsa's grand residence sets the tone Michael Cera as Bjørn Lund Milena Canonero's costumes carried Anderson's signature stylization from The Phoenician Scheme is a maximalist opera of control and collapse Wes Anderson unveils an opulent fever dream of mid-century European power, industry, and family dysfunction project info: name: The Phoenician Scheme | @thephoenicianscheme director: Wes Anderson producer: Jeremy Dawson production designer: Adam Stockhausen costume designer: Milena Canonero graphic design: Erica Dorn, Lucile Gauvain miniature & model effects: Simon Weisse visual effects: Nefzer Special Effects studio: Studio Babelsberg, Potsdam, Germany release: select theaters from May 30, 2025, wide release June 6, 2025 distributor: Focus Features | @focusfeatures