When we saw stills from Wes Anderson’s latest film, The Phoenician Scheme (2025) — a highbrow dark espionage comedy — we were reminded of two things: 1) every one of his frames reads like a high-gloss interiors editorial, and 2) there’s a reason the filmmaker has successfully dabbled outside cinema, too. (You might recall Bar Luce, the stylized, patterned-wall cafe and bar at Fondazione Prada, inspired by Italian mid-century cinema.)
It’s the quiet, the symmetry, the wide angles — yes — but above all, it’s the masterful use of color trends that makes Wes’ worlds (this one, Asteroid City (2023), The Grand Budapest Hotel (2014), and otherwise) so visually unforgettable.
