Wes Anderson is a filmmaker whose trademark style is entirely distinct, drawing both admiration and frustration from those who have noted the similarities within his work. Anderson’s symmetrical composition, matter-of-fact dialogue, and hand-crafted architecture may give all of his films a similar aesthetic, but there has been a great diversification within the types of genres that he has tackled. Within the last decade of his career, Anderson’s ambitions have turned international. “The Grand Budapest Hotel” was a wholesome celebration of a passing pre-war era, “Isle of Dogs” spotlighted the figures of a revolution, and “The French Dispatch” offered an anthology of stories that celebrated the importance of international journalism.

The one exception to this transition was Anderson’s last feature, “Asteroid City,” which reverted to the more familial themes that dominated his early work on “The Royal Tenenbaums” and “Fantastic Mr. Fox.” Anderson’s newest film, “The Phoenician Scheme,...