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A Jewish expert on monuments on what Philly’s famous Rocky Balboa statue can teach us about memory
(JTA) — Paul Farber was shocked when he first watched “Rocky” and saw a Star of David on the grave of Rocky Balboa’s coach, Mickey Goldmill.
As a Jew and as the founder of the Philadelphia-based Monument Lab, which has explored collective memory through art installations across the country for over a decade, Farber was well positioned to think about the deeper meaning of that brief shot.
“Anytime I see a Jewish funeral in a film, there’s some kind of call to attention. And I always want to know what that means, especially for a Hollywood production, especially when it may not be branded as a Jewish story,” he told the Jewish Telegraphic Agency.
“We’re not there in a prolonged series of mourning, but in a split second, seeing a Jewish site of a memory is really fascinating,” he added.
That outlook lies behind Farber’s work as the host of the new NPR podcast “The Statue,” a deep dive into Philadelphia’s famed statue of Rocky Balboa, the fictional prizefighter at the center of “Rocky.” The series delves into what sports and society can convey about memory, and in his research, Farber discovered a few Jewish nuggets found in the film series — including the fact that Rocky’s love interest was originally supposed to be Jewish.
“They made an actual gravestone [for her character] and it’s in Philadelphia’s most famous cemetery, Laurel Hill. And you can go there and see this gravestone where a movie character is ‘buried,’” he said. “People leave offerings on the gravestone, including small pebbles as if it’s a Jewish site of memory.”
In an interview with JTA, Farber shared his inspiration for the series, how his Jewish upbringing informed his life’s work and the role statues — such as that of Jewish baseball legend Sandy Koufax — do, and should, play.
This interview was lightly edited for length and clarity.
Jewish Telegraphic Agency: To start off, I’d love to hear about how you first got interested in studying monuments.
Paul Farber: I’m really interested in the ways that, in cities, we innovate toward the future, and also come to terms with our past, and it happens often in the same exact places. That could be a statue, a street, a corner store. And so that’s a big part for me.
What really inspired this project is a conversation I had with my mother, quite a few years ago. My mother is a lifelong Philadelphian. Her parents were Jewish immigrants in South Philadelphia. And when I told her I was teaching a class at the University of Pennsylvania about Philly neighborhoods, she asked me if I was covering Rocky. When I said, “Oh, it’s not on the syllabus” — and I may have said it in a way that felt dismissive — she gave me this look that I think a lot of us know: “How could you.” So for her birthday, we watched “Rocky” and we went to see “Creed.” My grandfather went to South Philly High and was in the boxing club. He shared stories in our family about what it meant to have sport and culture and belonging go together in South Philly. I started to see that across generations, from long before “Rocky” to this moment now, almost 50 years after the release of the film, many people’s family stories could be channeled through this statue, including my own, and that was enough of a prompt to go dive in.
“Rocky” is obviously not a Jewish story, but there are some nuggets. There’s the funeral scene, and you mentioned something about Adrian almost being Jewish. I’m curious what you think about the little Jewish pieces you can pull out of this famous story, and what those mean to you as a Philly sports fan.
It blew me away that Rocky’s coach, Mick, passes away and the character Rocky goes to his funeral, and you see a Star of David. Anytime I see a Jewish funeral in a film, there’s some kind of call to attention. And I always want to know what that means, especially for a Hollywood production, especially when it may not be branded as a Jewish story. And it just opened up a whole set of questions for me that blurred between art and life, between the film series and the city of Philadelphia.
In episode two, we showcase this monumental art book that Sylvester Stallone [who played Rocky] created. There was this passage in it that just blew me away, about the first draft of “Rocky,” where he says, “As for Adrian, she was Jewish in the first draft.” And he got feedback and cut that character. We never hear about Mickey’s Judaism. We never hear about Rocky’s bond across culture. But the fact that the first scene in the “Rocky” series is in a place called Resurrection Gym — that is obvious Christian iconography — and to put Jewish characters in is really fascinating to me.
There is another famous grave that is involved in the series. The character Adrian eventually passes away, and like the statue, which was made as a bronze sculpture, for the “Rocky” film series they made an actual gravestone and it’s in Philadelphia’s most famous cemetery, Laurel Hill. And you can go there and see this gravestone where a movie character is “buried.” People leave offerings on the gravestone, including small pebbles as if it’s a Jewish site of memory.
People talk about representation on screen, and I’m not sure a Jewish funeral necessarily does that, but I would imagine for some people, seeing Rocky Balboa say the “Mourner’s Kaddish“ was maybe their first interaction with Judaism in some way. What do you make of that?
Every shot is deliberate. And it’s actually that kind of attitude and outlook that created the Rocky statue, because Sylvester Stallone was the director of that film, and they could have made a styrofoam version or a temporary one, but they spent over a year making a bronze version so that when the camera faced it, it would make contact. I think very similarly, this is part of the artistry of Stallone that plays out in our podcast series. We’re not with him when he sits shiva. We’re not there in a prolonged series of mourning, but in a split second, seeing a Jewish site of a memory is really fascinating. And to see the coach Mickey, to have his Wikipedia page say he’s Jewish, all that we have is mourning.
I think about how for immigrant Jewish communities, there are gaps in our narratives. Throughout the series, and one of the reasons I wanted to share my perspective as a queer Jewish person who grew up loving sports in Philly, I’ve been informed by my own family’s history, and what we’re able to recall and what gaps there are. And I see that being echoed for so many people in the Rocky story.
It’s clearly a very personal story for you. Why did you think it was important to start the podcast with your own identity, and to include your Jewish mother?
I think it’s important that when we talk about sites of memory, we understand that there are shared and collective ways that we bring the past forward, and there are others that are incredibly personal. My hope was to find, in this case, to spotlight, a significant site of memory in the city, but ask questions about it. And I think it was important to note what position I would take, because I don’t believe there’s one story to the Rocky statue. To tell a biography of a statue, you actually have to tell it of the people who make meaning from it. So in the series, we do a lot of work where we want to know other people’s stories and backgrounds, whether they are refugees from Afghanistan, or community organizers in Kensington [a neighborhood of Philadelphia]. My hope was by positioning this from my perspective, almost as a memoir in a way, that it opened up space for others to have their experiences be valued and made meaning of.
The official artwork for Farber’s podcast. (Courtesy)
Both with the podcast and in your work with the Monument Lab, how do you feel that your Jewish identity informs what you do? Do you see overlap between your Jewish values and the values you work on in your organization?
I absolutely think so. I grew up in a Jewish community in Philadelphia, and tikkun olam was a constant refrain. The work of tikkun olam meant a worldview that necessitated building coalitions and understanding across divides, to not diminish or under-emphasize them, but to appreciate how we work in solidarity, whether that’s around racial justice, gender justice, in various struggles. I am a co-founder and director of an organization that focuses on memory, and that I really get from the stories of growing up in a Jewish household, in a Jewish community, where memory lived in different ways. We were always aware of the stories of trauma and loss, as well as reconciliation and transformation, and how you work with the gaps that you have, and you listen, and you learn and you carry the story with you. Because that is the way to bond generations. Jewish memory really grounds what I do, and I seek to use it as a tool to learn more and to feed connection across divides.
Rocky takes on this almost mythical, godlike status, and his statue in Philadelphia is a bit of a pilgrimage site. Do you see any tension there as a Jew, given the prohibition against idol worship?
I think about the importance of memory, against forces of violence and erasure. I also understand that, in a world that is full of pain and difficulty and loss, we seek places to release that. And so I understand the pull to monuments. What I would like to see, and what we try to do through this series, “The Statue,” and also with the work of Monument Lab, is to look on and off the pedestal, and really think about how history lives with us. As we say in the series and other places, history doesn’t live inside of statues, it lives with people who steward them, who create other kinds of sites of memory, who are vigilant in their modes of commemoration. What I try to do in this work is understand the ambivalence around monuments, the pull to try to remember and be enduring through time, and just that constant reminder that whenever you try to freeze the past, or freeze an image of power, you cut out the potential to find connection and empowerment, and thus forms of survival.
In sports, there are so many ways to honor people, especially different ways that, like a statue, take on the idea of permanence. When Bill Russell died, the NBA retired his number 6 across the league. On Jackie Robinson Day, every April 15, the whole MLB honors Jackie Robinson by wearing his uniform number. But statues just have a different level of oomph. Sandy Koufax has a new statue in Los Angeles that was unveiled last year; Hank Greenberg has one. What do you think it should take for an athlete to reach that status?
The pinnacle in sports is to have a statue dedicated to you outside of the stadium. And I do believe the cultures of social media have amplified that, because we grew up with the story of Sandy Koufax not pitching in the World Series during the High Holy Days, and that wasn’t because we learned it from a statue or a plaque. We learned it because it was carried forward and put into different forms of remembering and recalling its importance. I went to several Maccabi Games in the U.S. — I used to be a sprinter. And the culture of memory and sport, they were one in the same.
In professional sports, the pinnacle is the statue, but I think you brought up other really important ways of remembering that operate in non-statue forms that feel like they are living memorials. The idea of retiring someone’s number, and keeping their number up, is a way to acknowledge, in this really public of all public spaces, an intimacy and a care, and especially when an athlete passes away, how that transcends the lines of city geography. Jackie Robinson Day is something that did not occur immediately after Jackie Robinson was the first Black player to play in the major leagues, but was a product of a later moment when people around Major League Baseball sought to activate his memory. So yes, a statue outside of a stadium is like a particular kind of professional accolade. But the other forms are really meaningful.
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They led protests against Netanyahu. Can they turn outrage into political power?
On Oct. 7, Israelis will come together to commemorate the third anniversary of the Hamas attack. Three weeks later, they will gather again, this time at the voting booth, for the first national election since Nov. 2022. The shadow of the first event will no doubt loom large over the second.
The election is expected to serve, in large part, as a referendum on Prime Minister Benjamin Netanyahu and his coalition’s refusal to take responsibility for the failures of Oct. 7. But the fallout will also appear on the ballot itself, which will include several candidates whose lives were upended on that fateful day and the three tumultuous years that followed.
Some stepped into these leadership roles reluctantly, like Likud hopeful Talik Gvili, whose son Ran was the last deceased hostage to return from Gaza, and Sharon Sharabi of Yisrael Beiteinu, whose brothers Yossi and Eli were taken captive; only Eli returned alive.
Alongside those propelled unwittingly into the public eye are a slew of activists-turned-candidates whose path to political leadership was more deliberate. Many rose to prominence in early 2023, during the mass demonstrations against the government’s attempted judicial overhaul. After Oct. 7, they co-led the struggle to free the hostages, together with family members, and then went on to revive the anti-government protests, demanding accountability and calling for elections.
Elections in which they are now candidates.
With A Place for All, the Jewish-Arab party launched by Standing Together leaders, having withdrawn from the race earlier this month, the overwhelming majority of activists have found their political home inside the left-wing, liberal Zionist party formed in 2024 through a merger of Labor and Meretz now known as The Democrats.
Record-high voter turnout for the party’s internal primaries held this past July, and recent polling projecting they will secure at least 10 electoral seats, point to a groundswell of support among protest supporters. But can a movement that repeatedly brought tens of thousands of Israelis into the streets and helped force a pause in the judicial overhaul translate that mobilization into lasting political power? And for the candidates themselves – many with no prior political experience – what does it take to go from protesting outside the Knesset to making decisions inside of it?
For protest leader Yaya Fink, who secured the fifth position on The Democrats’ slate, the answer lies in shifting from resistance to rebuilding.
“The protests were about stopping things from happening. Now it’s time to make things happen,” Fink told the Forward, a transition he describes as “both critically important and completely natural.”
“You cannot stay in crisis-prevention mode forever,” Fink said. “We are incredibly proud of what we accomplished. But it’s time for the next phase: repairing what’s broken, creating change, building anew.”
Fink, a religious activist who helped establish the public-interest lobbying organization Lobby 99, has been involved in social justice movements for most of his adult life. But he describes the judicial overhaul as the first time he felt he was fighting for the country’s very identity as a liberal democracy. “It’s the cause that most affected me as a person and that I also feel I had the most effect on,” he recalled.
From outside the Knesset to inside
Fink is one of more than a dozen candidates near the top of The Democrats’ ticket with a background in activism. Joining him are reservist organizer Omri Ronen; high-tech protest leader Moshe Radman; Moran Zer Katzenstein, founder of Building an Alternative; Arab-Israeli peace activist Somaya Bashir; and Avi Dabush, executive director of Rabbis for Human Rights.
Yair Golan, at the top of the ticket, followed by incumbent lawmakers Naama Lazimi, Gilad Kariv and Efrat Reytan were also regular fixtures on the protest circuit. “These were the politicians who were out on the streets with us day after day, week after week,” Fink said. “It was a natural fit for us to join their party.”
The transition from protest to politics has clear historical precedence in Israel, according to Doron Shultziner, a professor in the Government, Communication and Diplomacy department at Jerusalem Multidisciplinary College who studies social movements,
In the 1970s, Moroccan immigrants Charlie Biton and Saadia Marciano were part of Israel’s Black Panthers, a group of militant radicals who were regularly arrested and often faced police brutality in their struggle against the racism and poverty Mizrahi Jews encountered at the time. Eventually, the two men entered politics on left-wing tickets, continuing their fight for equal treatment for Mizrahi Jews and emerging as early supporters of peace with the Palestinians.
But infighting and limited political influence prevented them from affecting significant change, even for Biton, who served 15 years in the Knesset. In general, Shultziner cautions against assuming that prominence in a protest movement automatically translates to success in office.
“Clearly, politics and protest are two completely different ball games,” he said. “The career of a politician is haphazard and is affected by so many events that they cannot control.”
Similarly, Shultziner pointed to the social justice protest of 2011, when Israelis pitched tents on Tel Aviv’s Rothschild Blvd. and marched in the streets to protest soaring housing costs and economic inequality. As the protest began to wind down, movement leaders Stav Shaffir and Itzik Shmuli moved into politics, securing spots on the Labor ticket in 2013. Shaffir gained prominence demanding budget transparency but spent her parliamentary career in opposition. After leaving Labor in 2019 for a rival left-wing alliance, she was excluded from subsequent electoral partnerships and left the Knesset in 2020.
Shmuli managed to became labor and welfare minister but, as Shultziner explained, his advancement came at a price: “Despite campaigning on a promise not to serve under Netanyahu, he joined Labor leader Amir Peretz in taking the party into the Netanyahu–Gantz unity government, a decision that alienated their supporters. He ended up retiring the following year.”
“So, it really depends on how you define success,” Shultziner noted.
Will protests and protesters change Israeli politics?
For Fink, who remembers these broken promises all too well, loyalty is central to The Democrats’ appeal. “In addition to standing shoulder to shoulder with us on the streets, they were also steadfast in representing the movement in the Knesset,” he said. “It just made sense to go in with people who have demonstrated they cannot be bought by Netanyahu.”
But before Fink can think about the Knesset, he and his fellow Democrats must focus on the road to get there. With Election Day only weeks away, the question is how wide to cast their net.
According to the Israeli Democracy Institute (IDI), by July of 2025, around 1.5 million Israelis were estimated to have taken part in at least one demonstration in the previous three years. And yet most polls have The Democrats at around 10 seats, or roughly 400,000 votes, a significant difference.
“Over time, we see a growing perception that the protests did not succeed in transforming Israel’s political system,” explained Dr. Tamar Hermann, a senior research fellow at IDI.
“With The Democrats’ identity so deeply intertwined with the protest movement, that disillusionment has led voters to look elsewhere.”
An even bigger obstacle may be the ideological gap between protester and party. “They were certainly united in their opposition to the judicial reform. But The Democrats as a party is significantly to the left of many of the protesters,” she said. “The majority of those who showed up consistently were quite conservative. They tend to benefit from a status quo they would like to preserve, which contradicts The Democrats’ message of change and revolution.”
Paradoxically, the movement’s public image may also hamper efforts to reach beyond it. ”In the collective Israeli psyche, the protestors, and by extension The Democrats, are so strongly associated with being Ashkenazi, urban, secular, quasi-socialist, and highly educated.” Hermann said. “Which doesn’t appeal to a broad audience.” That perception is not totally unfounded. A January 2023 IDI survey, conducted during the judicial overhaul protests, found that 20% of Ashkenazi respondents reported participating in protest activities, compared with 10% of Mizrahi respondents; participation among secular Jews was 27%, compared with only 4% among religious Zionists, with most of the large-scale demonstrations taking place in Tel Aviv, Jerusalem, and Haifa.
But beyond the data, the image carries historical baggage which still lingers today. Israel’s Labor movement, The Democrats’ political forebear, was dominated by Ashkenazi Jews of European ancestry while Mizrahi Jews, driven by the marginalization they faced, helped bring Netanyahu’s Likud party to power in the late 1970s.
Hermann notes that even reaching the projected 10 seats will be a huge accomplishment, a sentiment echoed by Shultziner. “Just the fact that they managed to register over 100,000 voters is an impressive feat,” he said. “People who would never have voted for labor in the past are now registering early with the Democrats just so they can vote in the primaries.”
Fink, however, remains determined to reach beyond the party’s base.
“I am a religious man who lives in the North,” he said, “not exactly the stereotypical ‘Kaplanist,’ ” a pejorative nickname for protesters drawn from Tel Aviv’s Kaplan Street, the demonstrations’ main gathering place.
“But who you vote for should not be determined by whether you are religious or secular, Jewish or Arab. Whether you live in the big city or an outlying community.
“The only thing that matters is whether you want Israel to be a liberal democracy or a semi-fascist state. Do you want a government that is honest or one that is crooked? Do you want your money to go to draft dodgers or those who serve? To yet another illegal outpost or to recovery efforts?”
Fink’s message echoes that of the protest movement he helped lead for nearly four years. But it also captures the challenge facing his party: whether the solidarity forged in the streets can survive the compromises of coalition politics. Already, the Democrats’ willingness to govern alongside an Arab party has exposed divisions among their potential partners. Still, their growing momentum and strong polling numbers suggest they may be on the road to fulfilling another promise of the protests – unseating Netanyahu and rewriting the government’s agenda.
The post They led protests against Netanyahu. Can they turn outrage into political power? appeared first on The Forward.
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German city bans stumbling stone memorials to Nazi victims
(JTA) — A decision to bar the “stumbling stone” memorials to victims of the Nazis has touched a nerve in one small German town, and beyond.
At issue is a motion – passed Sept. 25 by the city council of Heidenau in the former East Germany – to stop installation of such memorials in local sidewalks, calling them disrespectful, and to use the town’s North Cemetery instead.
Set into the ground, the small, engraved brass “Stolpersteine,” or stumbling stones, are meant to make pedestrians stop and think about the fate of former residents. There are currently some 116,000 such stones laid in 1,860 municipalities across Europe, mostly in Germany, according to the project’s website.
A curious aspect of the Stolpersteine is that they are opposed by both Germany’s right wing, which view them as detracting from national pride, and by a vocal minority of Jews who feel they don’t do enough to uplift the memory of victims.
The effort to block the memorial stones in Heidenau was sponsored jointly by the center-right Christian Democratic Union (CDU) and the far-right Alternative for Germany (AfD) party. The town’s current mayor, Conny Oertel, is independent.
The city council’s decision comes as the AfD gains support in German elections nationwide. The party’s support for banning the project in Heidenau has sparked concern about potential moves to suppress official public commemoration of the Holocaust.
The AfD is known for challenging Germany’s culture of Holocaust remembrance in general. Bjoern Hoecke, who leads the party in the neighboring state of Thuringia, once even called Berlin’s Holocaust memorial a “monument of shame” that detracted from German pride. In protest, an artist collective built a replica of the memorial outside his home.
On the other hand, some Jews, albeit a minority, object to the memorials because they say it’s disrespectful to place them where they can be walked on and covered with leaves or trash. The stones have also been targets of vandelism, they note.
But the Heidenau motion is not for the sake of victims; rather it’s a “transparent maneuver by the extremists of the AfD” to suppress Germany’s remembrance culture, said Charlotte Knobloch, who has successfully opposed the placement of Stolpersteine in her home city of Munich, in the state of Bavaria.
“Removing places of remembrance from the cityscape, as has now happened in Heidenau, is absolutely the wrong approach,” said Knobloch, a 93-year-old Holocaust survivor, who heads the Jewish community of Munich and Upper Bavaria.
In a statement issued to the press Friday, Knobloch added that she was “appalled” that the CDU “would lend itself to supporting” the move. “The democratic center should and must find its way back to itself here and find a better solution.”
The joint opposition to the project by the AfD, the mainstream CDU and a local activist group creates a dilemma for Stolpersteine opponents like Knobloch who also abhor the AfD.
Heidenau, in the state of Saxony, is not the first town to act against the project. The city of Munich in Bavaria voted as early as 2004 not to allow the installation of the stones in public spaces, siding with Knobloch. In the city of Pulheim, in North Rhine-Westphalia, the project was blocked in 2011, but eventually the municipality reversed course and allowed the first installations to take place in 2022.
Heidenau is home to 17,000 people. Though the wartime local Jewish population was small, there are five such stones in the town already. An application for 12 more had been submitted by the Alternative Cultural and Educational Center (Akubiz), including for Fritz Goldstein and his wife Martha, who were expelled to Poland in 1938 and survived the war.
Arguing against the stones, the Heidenau motion noted that many citizens, relatives of victims, and activists actually disapprove of this form of commemoration.
Negative reactions to the decision in Heidenau were swift, both from proponents and detractors of the memorial concept itself.
In an email statement, the New York-based March of the Living educational organization called on the town of Heidenau “to reverse its decision and on Germany’s leaders and citizens to oppose every effort to hide this history.”
The city council decision “raises a deeply troubling question: Are political interests being allowed to push the memory of Nazi victims out of public life?” the statement read in part.
Like Knobloch, Munich resident Gabriella Meros doesn’t like the stumbling stones. “They are simply not a dignified way to commemorate the victims of the Holocaust,” said Meros, daughter of a Holocaust survivor and chair of the association Respect and Remember Europe.
She promotes placement of plaques on buildings instead.
But the political move in Heidenau by the CDU and AfD is “outrageous, because they’re exploiting this argument for their own purposes.”
The real problem is, she said, that the AfD “wants to abolish remembrance” itself.
In its platform, the AfD says it aims to promote “positive, identity-establishing aspects of German history.” Critics say that in practice, this could mean reducing funding for educational trips to Holocaust sites and for the memorial sites themselves.
The Stolpersteine project, initiated in 1992 by Cologne-based artist Gunter Demnig, sets engraved memorials into sidewalks in front of buildings where deported victims of the Nazi dictatorship once lived.
Usually, family members from around the world nominate sites and pay a nominal fee for materials. For many, the stumbling stones are a substitute for a grave, for ancestors whose place of death is unknown.
Israel’s Ambassador to Germany Ron Prosor wrote on X
that he was “ashamed” of Heidenau’s decision, noting that members of his own family who were forced to flee the Nazis were commemorated by the stones in Berlin.
“Every person has a name. A world. A story. It is precisely this memory that is being erased here. Whoever erases the victims from the past erases the past itself.”
This article originally appeared on JTA.org.
The post German city bans stumbling stone memorials to Nazi victims appeared first on The Forward.
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‘NAZA’ documentary draws sold-out crowd – and protests – at US premiere
(JTA) — Even a powerful Nor’easter couldn’t stop the crowds from showing up at the North American premiere of the controversial Israeli documentary “NAZA” on Saturday afternoon.
The two weekend screenings scheduled at Lincoln Center as part of the New York Film Festival sold out in minutes. Dozens of people waited in a box office standby line that stretched around the corner despite the blustery conditions, while at least one local politician scored a ticket: Brad Lander, the Jewish progressive and Democratic nominee for New York’s 10th Congressional District.
Meanwhile, two groups of Israeli-Americans showed up on Saturday with no intention of going inside the theater: one demonstrating in solidarity with the filmmakers, and a larger group across the street that denounced the film as they waved Israeli flags.
The documentary, which was produced by The Guardian and alleges that Israeli forces knowingly killed large numbers of civilians in Gaza, has received early acclaim, winning the Special Jury Prize at the Venice Film Festival earlier this month. It will be made available for free on The Guardian’s website later this fall.
John Kwiatkowski, senior manager of publicity and communications for Film at Lincoln Center, told the Jewish Telegraphic Agency that “NAZA sold out almost immediately.”
But “NAZA,” whose name is the Hebrew acronym for “collateral damage,” has also roiled a number of Israeli officials and the country’s military. The Israel Defense Forces issued a public rebuttal after the film’s reception in Venice, with the IDF chief of staff calling the film a “deliberate distortion of reality.”
The Israeli filmmakers, Yuval Abraham and Rachel Szor, have faced intense backlash at home. Israel’s culture minister threatened to strip them of their citizenship and protesters accused the duo of treason in a demonstration outside Szor’s parents’ home.
Roni Tamari, who organized the rally supporting the filmmakers on Saturday, called the Israeli reaction “out of proportion.”
David Lawson, a Jewish Queens resident who had purchased a ticket for the Saturday premiere, told JTA that he’d appreciated Abraham and Szor’s previous film, “No Other Land,” which focused on settler violence in the West Bank community of Masafer Yatta.
Minutes before the screening’s slated start time, Lawson said that he was “very excited” to see “NAZA,” not just for what it will say “about Israel, but also just about the alarming use of AI in warfare in general.”
Lawson said he likes “to hope that the tide is shifting on acceptance of Zionism in the United States,” and that support for “NAZA” was an example of that shift. He also said he was “expecting” to see protesters who disagreed with the film. “Pathetic,” another person in line chimed in, describing the demonstration.
They were referring to the protest organized by the Israeli-American Council, which drew dozens of critics of the film who believe it omits the context of Hamas’ Oct. 7, 2023, attack in its depiction of the IDF’s military campaign in Gaza. Speakers included IAC’s chief communities officer Noa Peri-Jensch and a pair of survivors of the Nova music festival that Hamas attacked.
A fleet of four black trucks circled the area with LED screens that displayed images of Hamas’ Oct. 7 attack along with various messages. “Movies have editors. History does not,” one message read. The trucks were commissioned by the IAC.
“We mourn every innocent life lost in this war, Israeli or Palestinian,” Peri-Jensch said during the rally. “But compassion for Palestinian civilians does not require [us] to erase Oct. 7, ignore Hamas or accept one narrative without questioning it.”
Peri-Jensch was not calling for the film’s screenings to be canceled, she said in an interview, but rather for them to be paired “with context” at festivals, like panels featuring Oct. 7 survivors.
Asked about Israeli officials’ threats toward the filmmakers and the demonstrators calling them traitors, Peri-Jensch said she “cannot comment on what people in Israel do, I can only comment here,” adding that viewers “deserve to know the full scope.”
Prime Minister Benjamin Netanyahu backed legislation last week that would strip the Israeli filmmakers of their citizenship, while the Israeli army has weighed taking legal action against them.
Protesters gathered outside Szor’s parents’ home multiple nights in a row last week calling on authorities to “expel the traitors.” One speaker called for Abraham and Szor to be executed while the crowd chanted, “Execute the traitors.” Participants in the right-wing protest included activists and campaign staff from National Security Minister Itamar Ben-Gvir’s far-right party, according to Haaretz.
On Saturday, Nova massacre survivor Rom El-Hai himself referred to the filmmakers as “traitors,” and said that there have been “liars” like Abraham and Szor within the Jewish community since the Bible and during the Holocaust.
In an interview following his remarks, El-Hai said it isn’t his job to say how exactly Abraham and Szor should be dealt with in Israeli society, but that they “should be punished” and that they cannot “live their life in Israel like nothing happened.”
“People need to understand there is a price for what they’re doing,” he said.
Near the standby line running along the sidewalk of Broadway, about a dozen demonstrators who are involved with the group Israelis for Peace held signs reading, “We stand by the countless victims in Gaza and Rachel & Yuval for speaking truth to power.”
Tamari, one of the organizers, said she felt it was “actually very disrespectful” for images of wounded and killed Oct. 7 victims to be shown in public.
Moshe Kayam, an Israeli-American who demonstrated in solidarity with the “NAZA” filmmakers on Saturday, said IAC’s rally was “doing a disservice” because the Oct. 7 attacks were indeed “horrendous,” but “did not justify the mass killing” of civilians in Gaza.
“We want the truth to come out,” Kayam said of the film. “We want everyone to see what really happened there, and the damage that it caused to Gaza, to Israel’s image and to us as Israelis.”
This article originally appeared on JTA.org.
The post ‘NAZA’ documentary draws sold-out crowd – and protests – at US premiere appeared first on The Forward.
