The Phoenician Scheme: Wes Anderson’s new movie examines his own limitations.

Until I was surrounded by it, I don’t think I’d realized quite how much stuff there is in Wes Anderson’s movies. Walking through the exhibition dedicated to Anderson’s career at the Cinémathèque Française in Paris, I paid my respects to Ben Stiller and sons’ matching tracksuits from The Royal Tenenbaums and The Life Aquatic ’s crayon ponyfish, but what struck me were the objects I didn’t remember—especially the books. Practically every section devoted to one of Anderson’s movies featured some sort of printed matter, designed with a care belying its brief time on-screen: the programs for Margot Tenenbaum’s plays; the lobby cards for Steve Zissou’s documentaries; the cover of Moonrise Kingdom ’s Coping With the Very Troubled Child , by Romulus Trilling, M.D. One case is devoted t