Titans of industry cannot come to terms. Despite the literal gap between them being a matter of feet—maybe 30 or so by my count—when their two locomotives come to a standstill in a tunnel with miles of track in either direction, Zsa-zsa Korda (Benicio del Toro, tyrannical, avuncular) is unable to bridge the final inches with Leland and Reagan (Tom Hanks and Bryan Cranston, stone-faced). It’s an odd situation that becomes odder still when all parties realize the fate of their multimillion-dollar venture must now come down to a game of chance: and this one a bet on whether a Middle Eastern prince (Riz Ahmed) can sink a granny shot from below his knees while playing basketball’s ugly, redheaded step-cousin, HORSE.  It was at this exact moment I realized Wes Anderson had returned to full, magnificently daffy form. As easily the prodigal Texan’s best film in over a decade, The Phoenician Scheme rekindles much of the mirth that informed so many of Anderson’s early films. It is also the first instance one has had any narrative propulsion or tension since his last masterpiece, The Grand Budapest Hotel. While I would hesitate to place such lofty titles onto Phoenician, rest assured that it’s a balmy good time at the cinema where longtime fans get to again spend an evening with impeccably dressed cheats, droll scoundrels, and other variants on the unseemly father figure. Take del Toro’s Korda for instance. He begins the film by surviving what is jointly his sixth plane crash and assassination attempt. (The industrialist’s pilots fare less happily from his habit of falling out of the sky.) He isn’t sure who wants to kill him, but he seems confident it’s probably justified. Of his nine children, eight prepubescent boys live at home with him where their resentments already border on the homicidal. And the other offspring, a daughter he never really knew, wants nothing to do with him, even after he promises to bequeath her his entire fortune “on a trial basis.” Indeed, despite being a novitiate nun, Liesl (Mia Threapleton) has a tough time with forgiveness, especially when it comes to a would-be patriarch or patron. She does agree to at least get to know the old man, though, after he decides to gallivant around the world in a bid to save his empire (hence the aforementioned HORSE of fate). Rather boldly they even board plane after plane, alongside Korda’s ineffectual Swedish nanny-turned-attendant, Bjorn (a chipper Michael Cera doing an accent about three clicks south of the Muppets’ Chef). Together they meet a starry ensemble of walk-on cameos and eccentric business partners, my favorite of which is a preternaturally giddy Jeffrey Wright. Yet always operating beneath the surface is another tale of resentments between bad parents and their adult children. That plus a kooky murder mystery where Zsa-Zsa somehow keeps avoiding being the dead body. From the name of the protagonist alone, Anderson seems intent to signal to audiences with any degree of film knowledge that he is playing once more in the sandbox of his influences. It is hard to imagine a cineaste like Anderson, for example, hearing the moniker “Korda” and not thinking of anti-fascist Hungarian refugee-turned-British filmmaker, Alexander Korda, who directed aesthetic classics like The Thief of Baghdad (1940) and That Hamilton Woman (1941). Furthermore, Anderson pulls just as much from Korda contemporaries like fellow Hungarian ex-pat Michael Curtiz, particularly when Korda and Lisel wind up at a nightclub owned by Marseille Bob (Mathieu Amalric). And yes, another movie about traveling nannies and a precocious Liesl is alluded to as well. But the reason The Phoenician Scheme works so much better than Anderson’s last several movies is that while the filmmaker is visibly delighting in his references and what are almost assuredly private jokes between himself and co-writer Roman Coppola, the director also is avoiding the trap of becoming distracted by the aesthetics. Phoenician is still a beautifully designed world of straight lines and adroit square compositions, courtesy of cinematographer Bruno Delbonnel, where nothing feels natural. Not even the sun or tree vines discovered after Korda, Liesl, and Bjorn become lost in a jungle have any reality about them. But the simple pleasure of observing visual confections is not the be-all end unto itself that it previously was. The travelogue nature of the plot, in which a father and daughter go on an odyssey of unconventional boardroom meetings that include assassins, freedom fighters, and organized crime bigwigs, provides a skeletal structure where Anderson can graft on his increasing preference for narrative vignettes, but there is an emotional spine as well between Korda and Liesl that makes both the jokes and the pathos ebullient. Del Toro has never seemed bigger or more unshackled than as Zsa-zsa. Like most Anderson protagonists, Korda rarely speaks above a polite monotone, but his double-breasted confidence and adventurism provides del Toro with a refreshingly uninhibited floorspace. It also pairs nicely when bantering with Threapleton, a real discovery of a young talent who plays a nun with conviction, even as the twinge of curling judgment on her smile suggests she may never see Heaven. But then she dryly must channel the patience of Job when dodging the advances of a tipsy Bjorn (again, Cera is having too much fun) and the would-be buy-offs of an absentee father. The terrain of an unhappy adult and their aging parent is terrain Anderson has walked many times, but there’s a renewed vigor in his step in The Phoenician Scheme, perhaps because it is the first time he has crossed this territory where he is closer in age to the latter than the former. There is empathy for all parties, though, and new tricks to his whimsy, such as his elegant compositions repeatedly being shattered in close-ups where the camera is assaulted by various subjects filled with so much rage that they literally assail the fourth wall. The Phoenician Scheme is simply a lovely work from an artist with a fresh spring in his step. If you already count yourself among his admirers, it’s a return to form with moments of divine inspiration (just wait until you see who he cast as God). For the rest, it may not cause conversion, but it’s certainly worth sharing some communion wine over. The Phoenician Scheme premiered at the Cannes Film Festival on May 18. It opens in limited release on May 30 and wide on June 6. Join our mailing list Get the best of Den of Geek delivered right to your inbox!

The stars are out at the 2025 Cannes Film Festival.This year's event kicked off on May 13 with an opening ceremony and the premiere of the French film "Leave One Day." The festival will continue until May 24, providing nearly two weeks of French street style and red-carpet fashion.So far, some celebrities have turned heads in bold ensembles, while others have missed the mark with their looks.From Bella Hadid to Halle Berry, here are the best and worst looks we've seen. Elle Fanning's strapless gown was simple, but effective. Elle Fanning at the Cannes Film Festival. Reuters She walked the "Affeksjonsverdi" red carpet on Wednesday in a strapless Giorgio Armani design that looked pretty and chic.It was fitted to her body, decorated with pink rose appliqués, and completed with a plunging sweetheart neckline. Alex Consani wore a two-piece set that was almost perfect. Alex Consani at the 2025 Cannes Film Festival. Scott A Garfitt/Invision/AP She arrived for "The Phoenician Scheme" screening on Sunday in a uniquely shaped Schiaparelli set.The model's structured top had a beaded, off-the-shoulder neckpiece that covered her chest and a high-low peplum waistband. Her pants, on the other hand, were oversize and wide.Though her statement blouse had potential, Consani's pants were a little too big and needed tailoring. A form-fitting skirt might have looked better with the top piece. Alexander Skarsgard faced a similar issue. Alexander Skarsgard at the 2025 Cannes Film Festival. Scott A Garfitt/Invision/AP The actor could have looked classic with a traditional tuxedo for the red-carpet event, or he could have attempted a more daring style.Instead, he tried to do both at the same time.He wore a sharp Saint Laurent tux with his trousers tucked into thigh-high leather boots — a style the fashion house first revealed in its January runway show.The shoes were distracting and felt out of place with his otherwise basic look. Mariska Hargitay had a glamorous pink moment on Saturday. Mariska Hargitay at the 2025 Cannes Film Festival. Joel C Ryan/Invision/AP For the "Die, My Love" screening, Hargitay chose an off-the-shoulder gown crafted with black satin and sparkling hot-pink fabric.The color combination was sharp, the gown's straight silhouette fit the actor perfectly, and her elbow-length gloves made the outfit even more elegant. For the "Eddington" red carpet on Friday, Jeremy Strong should have picked a different suit. Jeremy Strong at the 2025 Cannes Film Festival. Michael Buckner/Getty Images His brown ensemble included a button-up shirt, a wrap blazer, straight-leg trousers, and a bow tie, all cut with raw hems.While the rough style might have worked for a different event, it looked too casual at Cannes. His black loafers were also too harsh against the lighter outfit. Natalie Portman showed the best of Dior. Natalie Portman at the 2025 Cannes Film Festival. Joel C Ryan/Invision/AP She walked the "Eddington" red carpet in a strapless, sparkling creation from the French fashion house.Its silver top was covered in sparkles and wrapped with a black bow, while its floor-length skirt had Dior's classic Junon petals.Portman accessorized the look perfectly with a bun hairstyle and a thick diamond necklace. Angelina Jolie's gown would have worked better in a different color. Angelina Jolie at the 2025 Cannes Film Festival. Joel C Ryan/Invision/AP Also on the "Eddington" red carpet, Jolie wore a strapless Brunello Cucinelli design. It had a thick floor-length skirt, a fitted bodice, and all-over sparkles that highlighted its rope texture.Though the actor looked pretty, her gown's ivory color matched her skin tone too closely and washed her out. The same dress in a pink or lilac shade could have worked better. Elaine Zhong stunned in a cream-colored ball gown. Elaine Zhong at the 2025 Cannes Film Festival. Gisela Schober/Getty Images The Chinese actor wore the strapless dress on the "Dossier 137" red carpet. Its structured bodice was decorated with beaded appliques, and its cups were shaped with flower petals.To accessorize the glamorous look, she added a sparkling diamond choker, matching earrings, a thick bracelet, and vibrant red lipstick. Zoe Saldaña's all-black ensemble didn't stand out. Zoe Saldaña at the 2025 Cannes Film Festival. Scott A Garfitt/Invision/AP She attended the "Mission: Impossible - The Final Reckoning" red carpet in a black Saint Laurent gown.Though her sleeveless dress was classic, it was also overly simple. Statement jewels could have easily enhanced the look.She also draped a dark leather jacket around her arms, which was much more casual than the rest of her outfit. Araya Alberta Hargate sparkled down the same red carpet. Araya Hargate at the 2025 Cannes Film Festival. Benoit Tessier/Reuters She wore a crystal-covered dress that looked like it was molded to her body with its form-fitting design.Its strapless, snake-print bodice was corseted with a deep plunge down the middle, and its floor-length skirt was pink and embellished with countless sparkles.The Thai actor completed her look with a large diamond necklace crafted in the shape of leaves. Heidi Klum had a pearlescent moment, but it wasn't her best. Heidi Klum at the 2025 Cannes Film Festival. Joel C Ryan/Invision/AP Elie Saab designed the model's off-the-shoulder gown. It had a deep V-neckline, see-through stripes, and all-over sparkles in blue and purple.Some of those details might have worked on their own. But together, especially with the gown's mermaid shape, its accents made it look more theatrical than glamorous. Tom Cruise looked sharp in maroon. Tom Cruise at the 2025 Cannes Film Festival. Joel C Ryan/Invision/AP Cruise attended a promotional event for "Mission: Impossible - The Final Reckoning" at Cannes.In doing so, he became one of the best-dressed men at the festival so far this year.He wore a fitted, textured knit polo and matching trousers with sharp pleats. The outfit was understated and vibrant on its own, while his brown dress shoes and dark sunglasses gave it an edge. Halle Berry made a last-minute fashion change, but her new outfit didn't work for her. Halle Berry at the 2025 Cannes Film Festival. Reuters When Berry walked onto the Cannes red carpet, she wore a shapeless Jacquemus gown with a black-and-white stripe print.She later told reporters that she'd originally planned to wear an "amazing dress" from Gaurav Gupta, but had to find a new look when Cannes announced a new dress code that prohibits voluminous gowns with long trains the day before the festival began.Unfortunately for Berry, the bold dress she chose was so flowy and oversize that it seemed to wear her, when it should have been the other way around. Isabeli Fontana could have been mistaken for a princess in a metallic gown. Isabeli Fontana at the 2025 Cannes Film Festival. Joel C Ryan/Invision/AP Nicolas Jebran designed her halter gown. The form-fitting piece had knotted fabric at the hip, a floor-length skirt with a short train, and a hip-high slit that revealed her sparkling pumps.The gown was also adorned with a sparkling silver piece that covered one shoulder and was embedded with turquoise stones.The ensemble was elegant and fit Fontana perfectly. Bella Hadid is always one of the best-dressed stars at Cannes, but her outfit choice for the 2025 opening ceremony was underwhelming. Bella Hadid at the 2025 Cannes Film Festival. Scott A Garfitt/Invision/AP Saint Laurent designed her sleeveless black dress with some interesting details. Its straps crisscrossed across her back to create cutouts and a deep plunge on the side of her chest.However, the front of the gown was overly simple. It had an asymmetrical neckline that looked mishapen, and a thigh-high slit that was cut too far to the side.Even her massive emerald earrings from Chopard weren't enough to make the ensemble memorable. Eva Longoria sparkled down the red carpet in a stunning gown. Eva Longoria at the 2025 Cannes Film Festival. Scott A Garfitt/Invision/AP Her Tamara Ralph gown was strapless and covered in square metallic pieces that sparkled in the light as she walked.It also had velvet panels at the waist that gave the dress some shape and matched its glamorous train.Not only was the dress tailored perfectly to Longoria, but the actor also accessorized strongly. She wore a statement necklace, rings, and earrings from Pasquale Bruni. Irina Shayk wore a fun gown, but a different hairstyle could have elevated the whole look. Irina Shayk at the 2025 Cannes Film Festival. Joel C Ryan/Invision/AP The model arrived wearing a black Armani Privé gown with all-over white polka dots. It had a strapless neckline, off-the-shoulder puffed sleeves, and a full skirt.On its own, the dress was fun, frilly, and perfect for Cannes.But Shayk wore her hair styled in a dramatic shape — a bun atop a strip of pin-straight hair — that distracted from her outfit.

A long, winding dirt road leads to Contrada Conazzo, a farm in the Enna region of Sicily that is owned by Sara Prato and her family. The ruin of the 14th-century Castello di Pietratagliata hulks in the distance, but the land is otherwise dominated by this masseria (a fortified Sicilian farmhouse), one of the most unexpected properties photographer Guido Taroni and I came across while researching our -forthcoming book, Inside SicilyIn the entry hall of Sara Prato’s 1940s country home in Sicily’s Enna region, a marble staircase leads to a landing with a soaring rectangular window in glass block. The adjacent fresco, original to the house, features imagery of workers in a wheat field; the floor features a mix of marbles.Inside Sicily$75 at AmazonThe house, built in 1943, is a relic from a time of transition, when new industrial methods were being pioneered to uphold an older mentality, in which every element—from the foundation to the furniture—was designed and crafted for its purpose. Prato remembers when her family moved into the masseria. “The house was new,” she says. “We must have been the first people for miles with running water and electricity.” While she and her late brother, the architect Antonio Prato, were alive during the construction of the house, their family has been farming the land for generations.Designed by the chief municipal engineer of Palermo, the home is strikingly modern, with a few whimsical flourishes characteristic of Italian Art Deco. The gatehouse is adorned with medieval-style fishtail merlons, a gesture that acts as a feint: Once you’re in the courtyard, decoration has been reduced to classical elements as seen through the filter of Italian rationalism. The main structure is flanked by stables on one side and a dopolavoro on the other—a space where workers gathered after long days in the fields—and the five-sided semicircular archway is made from blocks of actual travertine as well as a trompe l’oeil version made of concrete.Guido TaroniIn the kitchen, cornflower-blue subway tile contrasts with cabinetry, woodwork, and a table painted in a brighter shade of cyan. The floor is terrazzo.Inside, much of the original decoration was entrusted to Carmelo Comes, a midcentury painter and ceramist whose work can be found in many public buildings across Sicily. He created frescoes throughout, depicting allegorical figures and laborers tending the land—idealized visions of Sicilian rural life. Comes also designed the elaborate ceiling murals, including a zodiac-patterned one in the sitting room. Everything, from the oak table with aluminum legs to the terrazzo floors to the etched glass and chrome chandeliers, was custom made for the house in the 1940s. In an approach reminiscent of Piero Portaluppi’s Casa Corbellini-Wassermann in Milan, the property is a true gesamtkunstwerk: entirely conceived and designed at a time when the term “modernity” was still finding its definition.Around 80 years prior to the construction of Contrada Conazzo, Sicily was conquered by Garibaldi and unified with Italy. Prior to that, the native Sicilians had been dominated by waves of Phoenician, ancient Greek, Roman, Byzantine, Arab, Norman, French, and Spanish invaders. It was only in 1946 that Sicily was made an autonomous region within Italy. When this house was built, anxiety and aspirations for the future were held in equal measure. The visionary design of the home seems especially courageous against that backdrop.Sara and her daughter Marianna Nicolosi Asmundo today continue their family’s stewardship. And while the land remains an active farm, the property no longer hums with daily activity. Even in this quieter state, the masseria retains an energy: a readiness for renewal. ◾This story originally appeared in the May 2025 issue of Elle Decor. SUBSCRIBE

A little over a year ago, Nintendo, Universal Pictures, and Illumination announced, surprising no one, that they were following up on the stupendous success of The Super Mario Bros. Movie with a sequel that was due out in 2026. Details on the movie have been scarce since then, but a crucial tidbit has seemingly now emerged. On the official NBC Universal website, a report was published highlighting the lineup of titles shown off at the recent NBCUniversal’s 2025-2026 Upfront showcase event, and mentioned among several upcoming movies is Super Mario World. In case you were wondering, no, that isn’t a title that has been officially confirmed for the animated film so far. “An exciting range of films from Universal Pictures, Focus Features, DreamWorks Animation and Illumination were presented, including Megan 2.0, Nobody 2, Bad Guys 2, How to Train Your Dragon, Downton Abbey: The Grand Finale, Black Phone 2, HIM, The Phoenician Scheme, Super Mario World, Shrek, and Minions,” the website reads. In October last year, actor Keegan-Michael Key, the voice of Toad in the Mario movies, said of the sequel that it will be “a little broader in scope” and that it will “widen out the universe.” A title such as Super Mario World would certainly fit with that kind kind of scope, while it would, of course, also be a great way to exploit the nostalgia of fans of the beloved SNES 2D platforming classic of the same name. For now, we’re going to have to wait for official word on what the next Mario movie will be called and what it’ll bring to the table, but hopefully the wait won’t be too long. Stay tuned for more updates.