The Phoenician Scheme, Wes Anderson’s makebelieve treatment of the war-ravaged near east, reimagines the region as a sunlit Levantine fantasia of cypress trees, fez hats, camel-riders and kitsch hotels, all photographed with the lustre of an Ottolenghi cookbook. Meanwhile, livestreamed daily to our news feeds, the warlords of the Holy Land exhibit for us an equally spectacular dystopia of cities pummelled into sawdust, of skies scarred with scorching white phosphorus and gun-toting paragliders.
How could these images be of the same place? What does it mean that they have been produced at the same time, and that we are consuming them alongside each other?
