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Weinstein approached me ‘Jew to Jew’: Jodi Kantor opens up on the ‘She Said’ movie’s Jewish moments
(JTA) — When the New York Times journalist Jodi Kantor was reporting the 2017 Harvey Weinstein sexual assault story that earned her a Pulitzer prize, the powerful Hollywood producer and his team tried to influence her by using something they had in common: They are both Jewish.
“Weinstein put [Jewishness] on the table and seemed to expect that I was going to have some sort of tribal loyalty to him,” Kantor told the Jewish Telegraphic Agency on a video call from the New York Times newsroom. “And that was just not going to be the case.”
Now, that exchange has been immortalized in “She Said,” a new film adaptation of the nonfiction book of the same name by Kantor and her collaborator Megan Twohey that details their investigation into Weinstein’s conduct, which helped launch the #MeToo movement.
The film, directed by Maria Schrader with stars Zoe Kazan as Kantor and Carey Mulligan as Twohey, is an understated thriller that has drawn comparisons to “All the President’s Men” — and multiple subtle but powerful Jewish-themed subplots reveal the way Kantor’s Jewishness arose during and at times intersected with the investigation.
In one scene, the Kantor character notes that a Jewish member of Weinstein’s team tried to appeal to her “Jew to Jew.” In another, Kantor shares a moving moment with Weinstein’s longtime accountant, the child of Holocaust survivors, as they discuss the importance of speaking up about wrongdoing.
Kantor, 47, grew up between New York and New Jersey, the first grandchild of Holocaust survivors — born “almost 30 years to the day after my grandparents were liberated,” she notes. She calls her grandmother Hana Kantor, a 99-year-old Holocaust survivor, her “lodestar.” Kantor — who doesn’t often speak publicly about her personal life, including her Jewish background, which involved some education in Jewish schools — led a segment for CBS in May 2021 on her grandmother and their relationship. Before her journalism career, she spent a year in Israel on a Dorot Fellowship, working with Israeli and Palestinian organizations. She’s now a “proud member” of a Reform synagogue in Brooklyn.
Kantor spoke with JTA about the film’s Jewish threads, the portrayal of the New York Times newsroom and what Zoe Kazan’s performance captures about journalism.
This interview has been edited and condensed for clarity and length.
JTA: How did you feel having Zoe Kazan, who is not Jewish, play you? Kazan has played some notably Jewish characters before, for example in the HBO miniseries “The Plot Against America.”
JK: I feel Zoe’s performance is so sensitive and so layered. What I really appreciate about her performance is that she captures so many of the emotions I was feeling under the surface in the investigation. You know, when you’re a reporter and especially a reporter handling that sensitive a story, it’s your responsibility to present a really smooth professional exterior to the world. At the end of the investigation, I had the job of reading Harvey Weinstein some of the allegations and really confronting him. And in dealing with the victims, I wanted to be a rock for them and it was my job to get them to believe in the investigation. And so on the one hand, you have that smooth, professional exterior, but then below that, of course you’re feeling all the feelings. You’re feeling the power of the material, you’re feeling the urgency of getting the story, you’re feeling the fear that Weinstein could hurt somebody else. You’re feeling the loss that these women are expressing, including over their careers. And so I think Zoe’s performance just communicates that so beautifully.
What Zoe says about the character is that there are elements of me, there are elements of herself, and then there are elements of pure invention because she’s an artist, and that’s what she does.
I think the screenplay gets at a small but significant line of Jewish sub-drama that ran through the investigation. It went like this: Harvey Weinstein and his representatives were constantly trying to approach me as a Jew. And they’ve done this more recently, as well. There have been times when Harvey Weinstein was trying to approach me “Jew to Jew,” like almost in a tone of “you and I are the same, we understand each other.” We found dossiers later that they had compiled on me and it was clear that they knew that I was the grandchild of Holocaust survivors, and they tried to sort of deploy that. So speaking of keeping things under the surface, I privately thought that was offensive, that he was citing that. But your job as a reporter is to be completely professional. And I wasn’t looking to get into a fight with Weinstein. I just wanted to find out the truth and I actually wanted to be fair to the guy. Anyway, even as he was approaching me “Jew to Jew” in private, he was hiring Black Cube — sort of Israeli private intelligence agents — to try to dupe me. And they actually sent an agent to me, and she posed as a women’s rights advocate. And she was intimating that they were going to pay me a lot of money to appear at a conference in London. Luckily I shooed her away.
To some degree I can’t explain why private Israeli intelligence agents were hired to try to dupe the Hebrew speaking, yeshiva-educated, granddaughter of Holocaust survivors. But it’s not my job to explain that! It’s their job to explain why they did that.
Then the theme reappeared with Irwin Reiter, Weinstein’s accountant of 30 years, who kind of became the Deep Throat of the investigation. I quickly figured out that Irwin and I were from the same small world. He was the child of survivors, and had also spent his summers at bungalow colonies in the Catskills just down the road from mine. I don’t bring up the Holocaust a lot. It’s a sacred matter for me, and I didn’t do it lightly. But once I discovered that we did in fact have this really powerful connection in our backgrounds, I did gently sound it with him – I felt that was sincere and real. Because he was making such a critical decision: Weinstein’s accountant of 30 years is still working for the guy by day and he’s meeting with me at night. And I felt like I did need to go to that place with him, saying, “Okay, Irwin, we both know that there are people who talk and there are people who don’t. And we both grew up around that mix of people and what do we think is the difference? And also if you know if you have the chance to act and intervene in a bad situation, are you going to take it?”
We didn’t talk a lot about it, because I raised it and he didn’t want to fully engage. But I always felt like that was under the surface of our conversations, and he made a very brave decision to help us.
That was a very powerful scene in the film, and it felt like a turning point in the movie that kind of got at the ethical core of what was motivating your character. Was that a scene that was important to you personally to include in the film?
What Megan and I want people to know overall is that a small number of brave sources can make an extraordinary difference. When you really look at the number of people who gave us the essential information about Weinstein, it’s a small conference room’s worth of people. Most of them are incredibly brave women, some of whom are depicted, I think, quite beautifully in the film. But there was also Irwin, Weinstein’s accountant of all these years, among them. It’s Megan and my job to build people’s confidence in telling the truth. And as we become custodians of this story for the long term, one of the things we really want people to know is that a tiny group of brave sources, sometimes one source, can make a massive difference. Look at the impact that these people had all around the world.
Did you feel the film captured the New York Times newsroom? There’s a kind of great reverence to the toughness and professionalism in the newspaper business that really came through.
Megan and I are so grateful for the sincerity and professionalism with which the journalism is displayed. There are a lot of on screen depictions of journalists in which we’re depicted as manipulative or doing things for the wrong reasons or sleeping with our sources!
We [as journalists] feel incredible drama in what we do every day. And we’re so grateful to the filmmakers for finding it and sharing it with people. And I know the New York Times can look intimidating or remote as an institution. I hope people really consider this an invitation into the building and into our meetings, and into our way of working and our value system.
And we’re also proud that it’s a vision of a really female New York Times, which was not traditionally the case at this institution for a long time. This is a book and a movie about women as narrators.
“Harvey Weinstein and his representatives were constantly trying to approach me as a Jew,” Kantor said. (The New York Times)
There have been comparisons made between this movie and “All the President’s Men.” One of the striking differences is that those journalists are two male bachelors running around D.C. And this film has scenes of motherhood, of the Shabbat table, of making lunches. What was it like seeing your personal lives reflected on screen?
It’s really true that the Weinstein investigation was kind of born in the crucible of motherhood and Megan and my attempt to combine work with parenting. On the one hand, it’s the most everyday thing in the world, but on the other hand, you don’t see it actually portrayed on screen that much. We’re really honored by the way that throughout the film you see motherhood and work mixing, I think in a way that is so natural despite our obviously pretty stressful circumstances.
I started out alone on the Weinstein investigation, and I called Megan because movie stars were telling me their secrets but they were very reluctant to go on the record. So I had gone some way in persuading and engaging them, but I was looking to make the absolute strongest case for them. So I called Megan. We had both done years of reporting on women and children. Mine involved the workplace more and hers involved sex crimes more, which is part of why everything melded together so well eventually. I wanted to talk to her about what she had said to female victims in the past. But when I reached her, I could hear that something was wrong. And she had just had a baby, and I had had postpartum depression myself. So we talked about it and I gave her the name of my doctor, who I had seen. Then she got treatment. And she not only gave very good advice on that [initial] phone call, but she joined me in the investigation.
I think the theme is responsibility. Our relationship was forged in a sense of shared responsibility, primarily for the work – once we began to understand the truths about Weinstein, we couldn’t allow ourselves to fail. But also Megan was learning to shoulder the responsibility of being a parent, and I had two kids. And so we started this joint dialogue that was mostly about work, but also about motherhood. And I think throughout the film and throughout the real investigation, we felt those themes melding. It’s totally true that my daughter Tali was asking me about what I was doing. It’s very hard to keep secrets from your kid in a New York City apartment, even though I didn’t tell her everything. And Megan and I would go from discussing really critical matters with the investigation to talking about her daughter’s evolving nap schedule. It really felt like we had to get the story and get home to the kids.
And also, we were reporting on our own cohort. A lot of Weinstein victims were and are women in their 40s. And so even though we were very professional with this and we tried to be very professional with the sources, there was an aspect of looking in the mirror. For example, with Laura Madden, who was so brave about going on the record, it was conversations with her own teenage daughters that helped her make her decision.
We didn’t write about this in our book because it was hard to mix the motherhood stuff with this sort of serious reporter-detective story and all the important facts. And we didn’t want to talk about ourselves too much in the book. But the filmmakers captured something that I think is very true. It feels particular to us but also universal. When Zoe [Kazan] is pushing a stroller and taking a phone call at the same time, I suspect lots of people will identify with that. And what I also really like is the grace and dignity with which that’s portrayed.
It must have been surreal, seeing a Hollywood movie about your investigation of Hollywood.
I think part of the power of the film is that it returns the Weinstein investigation to the producer’s medium, but on vastly different terms, with the women in charge. Megan and I are particularly moved by the portrayals of Zelda Perkins, Laura Madden and Rowena Chiu — these former Weinstein assistants are in many ways at the core of the story. They’re everyday people who made the incredibly brave decision to help us, in spite of everything from breast cancer to legal barriers.
Working with the filmmakers was really interesting. They were really committed to the integrity of the story, and they asked a ton of questions, both large and small. Ranging from the really big things about the investigation to these tiny details. Like in the scene where we go to Gwyneth Paltrow’s house and Megan and I discover we’re practically wearing the same dress — those were the actual white dresses that we wore that day. We had to send them in an envelope to the costume department, and they copied the dresses in Zoe and Carey’s sizes and that’s what they’re wearing. There was a strand of extreme fidelity, but they needed some artistic license because it’s a movie. And the movie plays out in the key of emotion.
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Netanyahu Coalition Pushes Contentious Oct. 7 Attack Probe, Families Call for Justice
Israeli Prime Minister Benjamin Netanyahu participates in the state memorial ceremony for the fallen of the Iron Swords War on Mount Herzl, Jerusalem on Oct. 16, 2025. Photo: Alex Kolomoisky/POOL/Pool via REUTERS
Israel‘s parliament gave the initial go-ahead on Wednesday for a government-empowered inquiry into the surprise October 7, 2023 attack by Hamas terrorists on southern Israel rather than the expected independent investigation demanded by families of the victims.
Prime Minister Benjamin Netanyahu has resisted calls to establish a state commission to investigate Israel‘s failures in the run-up to its deadliest day and has taken no responsibility for the attack that sparked the two-year Gaza war.
His ruling coalition voted on Wednesday to advance a bill which grants parliament members the authority to pick panel members for an inquiry and gives Netanyahu’s cabinet the power to set its mandate.
Critics say the move circumvents Israel‘s 1968 Commissions of Inquiry Law, under which the president of the Supreme Court appoints an independent panel to investigate major state failures such as those which preceded the 1973 Yom Kippur war.
Survivors and relatives of those hurt in the Hamas attack have launched a campaign against the proposed probe, saying only a state commission can bring those accountable to justice.
“This is a day of disaster for us all,” said Eyal Eshel, who lost his daughter when Hamas militants overran the army base where she served. “Justice must be done and justice will be done,” he said at the Knesset, before the vote.
Surveys have shown wide public support for the establishment of a state commission into the country’s biggest security lapse in decades.
Netanyahu said on Monday that a panel appointed in line with the new bill, by elected officials from both the opposition and the coalition, would be independent and win broad public trust.
But Israel‘s opposition has already said it will not cooperate with what it describes as an attempt by Netanyahu’s coalition to cover up the truth rather than reveal it, arguing that the investigation would ultimately be controlled by Netanyahu and his coalition.
The new bill says that if the politicians fail to agree on the panel, its make-up will be decided by the head of parliament, who is allied with Netanyahu and is a member of his Likud party.
Jon Polin, whose son Hersh Goldberg-Polin was taken hostage and found slain by his captors with five other hostages in a Hamas tunnel in August 2024, said only a trusted commission could restore security and unite a nation still traumatized.
“I support a state commission, not to see anyone punished and not because it will bring back my only son, no. I support a state commission so that nothing like what happened to my son, can ever happen to your son, or your daughter, or your parents,” Polin said on Sunday at a news conference with other families.
Hersh Goldberg-Polin was among dozens of hostages taken in the 2023 attack from the site of the Nova music festival.
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Christmas Celebrations Muted at Bondi as Australians Grieve After Deadly Shooting
People attend the ‘Light Over Darkness’ vigil honoring victims and survivors of a deadly mass shooting during a Jewish Hanukkah celebration at Bondi Beach on Dec. 14, in Sydney, Australia, Dec. 21, 2025. Photo: REUTERS/Hollie Adams
Christmas celebrations were muted at Sydney’s famed Bondi Beach on Thursday in the aftermath of a terror attack that killed 15 people there more than a week ago, as the community continued to grapple with the country’s deadliest mass shooting in nearly three decades.
Police patrolled across the beachfront in Bondi, a traditional Christmas destination, as hundreds of people, many wearing Santa hats, gathered on the sands.
“I think it’s tragic, and I think everybody respects and is very sad for what happened, and I think people here are out on the beach, because it’s like a celebration but everybody has got it in their memories and everybody is respectful of what happened,” British tourist Mark Conroy told Reuters.
“Everyone is feeling for the family and friends who are going through the worst possible thing you could imagine.”
The gun attack on December 14 at a Jewish Hanukkah celebration has prompted calls for stricter gun laws and tougher action against antisemitism, while public gathering rules in Sydney have been tightened under new laws passed on Wednesday.
Beachgoers were seen taking photos next to a Christmas tree while some posed with lifeguards, although windy weather conditions appeared to thin crowds.
“It’s not the best conditions for Christmas Day today, it’s a bit choppy. … so not ideal, but people are still here,” Surf Life Saving Patrol Captain Thomas Hough said.
Flags flew at half mast outside the heritage-listed Bondi Pavilion building near the site of the attack, which police say was allegedly carried out by a father and son, inspired by the militant group Islamic State.
In Melbourne, a car with a “Happy Chanukah!” sign was set alight on Christmas Day in the city’s southeast, with no injuries reported, Australian media reported.
Prime Minister Anthony Albanese, facing mounting criticism from opponents who argue his government has not done enough to curb a rise in antisemitism, called the firebombing of the car “just beyond comprehension.”
“What sort of evil ideology and thoughts at a time like this would motivate someone?,” Albanese told reporters on Thursday.
Since the start of Israel’s war in Gaza in October 2023, there have been attacks against synagogues, Jewish buildings and cars in Australia.
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‘Poles Watching Can Be Proud’: Director Defends Holocaust Film 10-Years in the Making Sparking Backlash in Poland
Pelagia Radecka, featured in “Among Neighbors.” Photo: Courtesy of 8 Above
A documentary that addresses the historic and well-documented murder of hundreds of Holocaust survivors by local Poles in the aftermath of World War II has stirred political controversy within the Eastern European country, but its director told The Algemeiner the film mentions a lot that Poles can be proud of.
“There are stories within the film that Poles can look at and be proud of how those individuals acted during and since World War II,” said Yoav Potash, the Jewish award-winning writer, producer and director of “Among Neighbors.”
“And there are also stories that may make people feel like it’s a shame, that some Poles behaved the way they did,” he added. “And that’s an appropriate and mature response. To look at the history of your own nation and say, ‘Wow, some of us really failed in our decency and humanity.’”
Potash’s documentary “Among Neighbors” focuses on a handful of particular stories in the small town of Gniewoszów, in north-central Poland, where Jews were murdered by their Polish Catholic neighbors months after the war ended – neighbors whom they once lived peacefully with for centuries before World War II. The film uses hand-drawn animation as well as first-hand testimonies and interviews with Holocaust survivors, locals and World War II experts in Poland to tell the stories of Jews who were liberated at the end of the Holocaust only to be then murdered by local Poles when returning home.
At the heart of the film is Yaacov Goldstein, one of the last living Holocaust survivors from Gniewoszów, and Pelagia Radecka, a local Polish eyewitness who saw Jews murdered in Gniewoszów by her Polish neighbors, six months after the Nazis were defeated. Radecka has fond memories of her Jewish neighbors and at the age of 85, she remains scarred by their murders, and efforts by the murderers and politicians to silence her. She holds on to the hope that she will find the Jewish boy who is the surviving child of two of the victims murdered by local Poles. Goldstein talks in the film about his wartime experiences and the brutal conditions he was forced to endure to survive the Holocaust, which include hiding for two years in a storage compartment so small he could not straighten his legs and escaping execution by a Nazi firing squad because of “a miracle.”
Several elders from Gniewoszów were interviewed for “Among Neighbors” and all but two have since died. The film features their final testimony.
It took Potash 10 years to make “Among Neighbors,” the filmmaker from California told The Algemeiner. He said he was basically “flying under the radar” filming the project in Poland when the country passed a law in 2018 criminalizing any claims that the Polish nation or state was complicit in the Holocaust. The controversial legislation, making it illegal to accuse Poland of colluding with the Nazis, was championed by the ruling nationalist Law and Justice party. The country has a long-standing history of promoting the narrative that Poles were only victims in Nazi-occupied Poland. In November, Polish Member of Parliament Grzegorz Braun declared “Poland is for the Poles” and that Jews “have their own countries” during a speech outside the site of the former Auschwitz concentration camp.
“Among Neighbors” made its world premiere at the Warsaw Jewish Film Festival last year, where it won the festival’s Special Award. Poland’s national public broadcaster TVP aired the film in November and its television premiere garnered well over 100,000 viewers, according to Potash. “Among Neighbors” is still available for viewers in Poland on TVP’s streaming platform.
But on Nov. 16, six days after “Among Neighbors” aired and began streaming in Poland, senior Polish officials and right-wing media outlets condemned both the film and TVP. Agnieszka Jędrzak, undersecretary to Polish President Karol Nawrocki, called the film “anti-Polish historical manipulation” in a post on X. The National Broadcasting Council of Poland (KRRiT) has since launched an investigation into TVP, which is ongoing. So far TVP is standing by its broadcast of the film and has not removed “Among Neighbors” from its streaming platform.
Speaking to The Algemeiner, Potash insisted that “Among Neighbors” is “not an anti-Polish film.”
“I think there is plenty in the film for Poles to look at and be proud of,” he explained. “And that would include the story of the man who forged papers for Jews in Gniewoszów and saved the lives of at least nine people by giving them false papers that could make them appear to be not Jewish, so they can flee Poland and get to safety. In addition to including this story in the film, we contacted Yad Vashem and told them we had someone to add to the Righteous Among the Nations. And we made that happen. In 2018, he was inducted posthumously. We felt like this individual deserves that special honor.”
Potash added that Polish viewers can also be proud of Radecka “because she showed a lot of courage overcoming overwhelming pressure from the murderers, and later the politicians, who tried to silence her.” He criticized “extreme nationalists” in Poland who are “only concerned with the fact that this film also pokes some very large holes in a narrow and oversimplified view that some in Poland have of themselves and their national identity, especially how it relates to World War II.”
The filmmaker said he was not the least bit surprised about the political backlash that the film has received in Poland, considering the “very divided and politically charged atmosphere in Poland, especially around their World War II history.”
“There is a popular national myth in Poland that during World War II, Poles were only heroes or victims. Nothing else,” he said. “I think for many years, children and adults in Poland have largely been taught and fed this myth … Even today, roughly half the country is still clinging to a fantasy version of history that denies the extent to which Poles were complicit in either pointing out to Nazis where Jews were hiding or doing much worse, such as is revealed in my film, which is that some Poles continued to kill Jews even after the war was over, the Nazis were defeated and gone.”
“The reality is that when World War II was over, Holocaust survivors came back to their shtetls [a small Jewish town or village] seeking out others who may have survived, wondering, ‘Can we regroup here? Is it even possible to restart our lives in the towns that we loved and where we’ve lived our entire lives?’ And these murders that took place across Poland told them, ‘Absolutely not. You are not welcome. You cannot restart, you cannot continue life in the shtetl.’”
“Among Neighbors” is currently playing in select US theaters and film festivals. It won the Audience Award at the San Francisco Independent Film Festival, three awards from the Teaneck International Film Festival, and the Jewish Film Institute’s Envision Award. Still, Potash told The Algemeiner that the film has received negative reactions from some streaming platforms and major film festivals. He shared a story of a major streamer that told him the documentary was not “broad enough” for their platform.
“To be not ‘broad enough’ sounds like a nicer way of saying ‘too Jewish,’” Potash said. “I worked really hard to try to make this film as universal as possible. And I think the themes of can we confront out history honestly, even the parts that are difficult, that applies across the board to just about every country and society in the world. Unfortunately, releasing this film during this post-Oct. 7 [2023] environment that been really, really challenging. A lot of major festivals and streamers don’t want to get near content that’s seen as ‘too Jewish.’”
While TVP remains under investigation by the National Broadcasting Council of Poland for airing “Among Neighbors,” Potash encourages Poles to see the documentary for themselves and make their own judgements about the film.
“Don’t believe all the out of context ranting about the film that’s coming from political extremists and historical revisionists in Poland,” he explained. “I think it’s important for people to see this film because it gets into the real complexities of how history actually unfolded. It resists the simple narrative of: ‘We were heroes, and these were the villains, and these were the victims.’ It wasn’t always so black and white; so simple. The real stories that came out of this situation were quite complex. And those simplistic narratives don’t always fit.”
The USC Shoah Foundation — founded in 1994 by Steven Spielberg with the goal of recording, preserving, and sharing testimonies related to the Holocaust — has partnered with the JFCS Holocaust Center to create an educational curriculum so “Among Neighbors” can be used in classrooms as part of Holocaust education. A portion of revenue generated by the film benefits the JFCS Holocaust Center.
Watch the trailer for “Among Neighbors” below.