Cannes 2025 has served up a deliciously stark contrast in period storytelling — and darling, what a feast it is. While Wes Anderson continues his love affair with meticulously crafted whimsy, Brazilian powerhouse Kleber Mendonça Filho has gone and tossed a bloody hand grenade into the mix. The result? Pure cinematic fireworks.
Let’s dish about Anderson’s “The Phoenician Scheme” first. After that somewhat tepid outing last year (you know the one), he’s bounced back with something that feels both comfortingly familiar and surprisingly fresh. Benicio del Toro — an inspired choice, really — steps into the shoes of Zsa-Zsa Korda, delivering the kind of performance that makes you wonder why these two hadn’t collaborated sooner.
The father-daughter dynamic between del Toro and newcomer Mia Threapleton practically crackles off the screen. It’s a refreshing departure from Anderson’s usual parade of melancholic family relationships — though don’t worry, there’s still plenty of perfectly centered shots and that signature pastel palette we’ve come to expect. And yes, Bill Murray makes his contractually-obligated appearance, though perhaps not quite where you’d expect him.
Meanwhile, on the other end of the spectrum (and honestly, darling, we’re talking opposite ends of the universe), Filho’s “The Secret Agent” arrives like a shot of pure adrenaline to the heart. Wagner Moura, fresh off his recent Emmy nomination, leads us through a 1977 Brazil that’s less historical drama and more fever dream. That “time full of mischief” opening line? Deliciously understated, considering what follows.
The timing couldn’t be more perfect — or perhaps more unsettling. With Brazil’s recent political upheavals and that groundbreaking Oscar win for “I’m Still Here” still fresh in everyone’s minds, Filho’s exploration of the country’s military dictatorship era hits differently. Those “ideas becoming mainstream again” he mentioned at the press conference? Well… *gestures vaguely at current headlines*
Here’s the thing about period pieces — they’re tricky beasts. Go too heavy-handed with the historical parallels and you end up with a ham-fisted history lesson. Too light, and you risk trivializing important moments. Both directors have somehow managed to thread this needle, albeit in wildly different ways.
Anderson’s approach feels like slipping into a perfectly tailored vintage suit — comfortable yet impossibly chic. The espionage elements (a first for him, really) add just enough edge to keep things interesting. Meanwhile, Filho’s taken the oversaturated aesthetic of 70s cinema and cranked it up to eleven. That shark-with-a-severed-leg scene? Already legendary on Film Twitter.
The contrast between these two approaches is nothing short of fascinating. Anderson’s world operates like a perfectly wound Swiss watch, while Filho’s embraces chaos theory with open arms. Yet somehow, both films manage to speak eloquently about modern concerns — family, politics, redemption — through their respective period lenses.
Who comes out on top? Darling, that’s missing the point entirely. In a landscape increasingly dominated by algorithm-approved content (looking at you, certain streaming services), these films remind us why auteur cinema still matters. Whether you prefer your period pieces with pristine dollhouse precision or blood-spattered political commentary — or better yet, both — Cannes 2025 has delivered in spades.
Leave a Reply