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A Jewish producer of ‘All Quiet On The Western Front’ sees his family history in the Oscar-nominated Netflix film
(JTA) — The film producer Daniel Dreifuss has only one surviving photo of a distant relative: his grandfather’s cousin, who fought for Germany in World War I and died in combat two days before the war’s end.
He has a few more photos of his grandfather, who also wore the German uniform in WWI — only to be rounded up by the Nazis two decades later during Kristallnacht and thrown into a concentration camp, as even the Jews who had fought for their country were not safe from its campaign of race extermination.
Dreifuss, who was raised in Brazil after his surviving ancestors fled the war to Uruguay, held up these weathered black-and-white photos to his Zoom camera as he spoke to the Jewish Telegraphic Agency from his home in Los Angeles. One shows his grandfather’s cousin in his military uniform, the other shows his grandparents posing together, between the wars.
“Twenty years later, your country, that you just gave your health for and your cousin for and your family for, sends you to a camp,” he said. “It’s a lot of trauma to have to go through in one lifetime.”
These family stories echoed through Dreifuss’ mind when he first read the script for a proposed modern take on “All Quiet on the Western Front,” the classic 1928 novel about the German army’s hellish experiences during World War I. Nearly a century later, author Erich Maria Remarque’s descriptions of trench warfare and of the utter lack of heroism, valor or patriotism felt by its soldier protagonists resonated with Dreifuss.
“I said, ‘I know these people,’” he recalled. “Not because they are some distant relatives that I’ve heard of, but because I am the grandson of one of those kids who were in the film.”
Dreifuss’ parents met at a Jewish youth group in Rio de Janeiro in the 1960s. “My father was my mother’s madrich,” he recalled, using the Hebrew word for a youth group counselor. After they were later married, they moved to Israel partially to avoid Brazil’s military dictatorship and became left-wing political activists. They left Israel just before the Yom Kippur War and relocated to Scotland, where Dreifuss was born, before returning to Brazil to raise him.
Dreifuss had his bar mitzvah in the city of Belo Horizonte before later moving to Rio, which has a much larger Jewish community. “My family was never at all religious, but culturally Jewish,” he said, recalling Passover celebrations and gefilte fish recipes. He did not have many Jewish friends growing up, but his Brazilian friends were interested in Judaism and would attend his family’s Jewish events.
Daniel Dreifuss, a producer of Netflix’s “All Quiet on the Western Front,” holds up a photo of his grandfather Max Dreifuss from 1919, recovering from his German military service in WWI. Max was sent to a concentration camp once the Nazis took power. (Courtesy of Daniel Dreifuss)
This global upbringing is reflected in Dreifuss’ interest in international film. It took a decade for him to mount his remake of “All Quiet,” which was eventually set up with a German production company and released by Netflix this past fall amid another endless military conflict in Europe. No one, he said, wanted to fund a resolutely anti-war film that refused to glorify its combatants, a film that was “never a hero’s journey, not the story of someone who came, you know, beat 1,000 people with their bare hands, triumphs and looks down on top of a hill at the end with some sweeping score.”
But that journey has been validated by the film’s impressive Oscar total, which surprised industry observers. At the nomination ceremony last month, “All Quiet” received nine total nods, the second most of any film this year, including for best picture — which the novel’s original 1930 Hollywood adaptation, directed by Jewish filmmaker Lewis Milestone, won. (This year’s Academy Awards will be held March 12.)
Considering the Nazis had once led a campaign of book burning against the source material and terrorized German movie theaters that showed the original movie adaptation, accusing it of being a “Judenfilm,” Dreifuss sees the new film’s success as a historical victory, too. “I love that my name will be associated with a story that was deemed degenerate by that regime,” he said.
When he was first presented with an early draft of the new “All Quiet” script, in 2013, Dreifuss was coming off of the success of another international historical film he had produced. “No,” a 1980s-set Chilean political drama, starred Gael Garcia Bernal as an ad executive tasked with convincing his country to vote the dictator Augusto Pinochet out of office. The film netted Chile’s first-ever Oscar nomination for international feature film, although Dreifuss himself is not Chilean.
In researching “No,” Dreifuss said, the film’s team had trouble finding Chileans who would admit to having cast their real-life vote in Pinochet’s favor — even though 40% of the population did so. “We couldn’t find one single person who supported him,” he recalled. “At some point, years later, no one wanted to say, ‘I supported it, I voted, I was on that side.’” He saw a parallel to the history of geopolitics in the run-up to WWII, when many Western countries — including his family’s adopted homeland of Brazil — were initially sympathetic to the Nazis.
When Hollywood studios turned down the proposed remake of “All Quiet,” forcing Dreifuss to turn to European financing, he saw an opportunity to mount the first-ever German adaptation of the property, which would allow the film to open up a “historical perspective” on how the aftermath of WWI led to the rise of the Nazis and the Holocaust.
German filmmaker Edward Berger, who also helmed several episodes of the espionage miniseries “Deutschland 83,” stepped into the director’s chair, and he also has a co-writing credit. German star Daniel Brühl, who has played many historical villains to the Jewish people in films ranging from “7 Days in Entebbe” to “The Zookeeper’s Wife,” took a key supporting role as the lead negotiator for the armistice agreements — the sole figure in the movie trying to find a peaceful resolution for his country. (The historical figure Brühl portrays, Matthias Erzberger, was vilified as a traitor by the German right and assassinated in 1921 by antisemitic nationalist radicals who were precursors to the Nazis.)
Though there are no explicitly Jewish characters in the film, Dreifuss believes it still speaks to the fate that would soon await Europe’s Jews.
“We know what followed in the decade in Germany,” he said. “So we could bring that to the film in subtle ways.”
He pointed to the armistice plotline that foreshadows how the Treaty of Versailles left Germany in a deeply disadvantaged position, creating an opportunity for Hitler’s brand of national populism. There are also scenes in which thoughtless German generals, driven by nationalistic fervor and wounded pride, send entire squadrons to their deaths mere minutes before the armistice is set to take effect. In one sequence, the film’s lead, the soldier Paul (Felix Kammerer), steals a goose from a French farming family of non-combatants and says: “It’s a hatred of the other, of not understanding, of being raised to have an enemy.”
Dreifuss is dipping into a different chapter of world Jewish history with his next project: a Showtime miniseries produced with the co-creators of the Israeli Netflix series “Fauda” that explores CIA operations in the Middle East and is partially set during the Lebanon War in which Israel had a heavy, and oft-criticized, military presence. The series will air this summer.
He has also been pitched a host of WWI and WWII-related projects in the wake of the success of “All Quiet.” But, he joked, “I would love for people to not only think of me as the war guy, or as the dictator guy.”
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Atlanta movie exec who complained of ‘nasty Jews’ is running for Congress
Ryan Millsap, a prominent film and real estate executive in Atlanta who made antisemitic and racist comments in private text messages, is now running for a congressional seat in rural Georgia.
ProPublica and the Atlanta Journal-Constitution reported two years ago that Millsap had sent the offensive texts to a girlfriend.
“Just had a meeting with one of the most nasty Jews I’ve ever encountered,” Millsap wrote in a 2019 text message viewed by the Forward. John Da Grosa Smith, Millsap’s former attorney, filed the text messages in Fulton County Superior Court in Georgia in 2024.
The news outlets also reported that Smith said in court documents that Millsap had allegedly made derogatory comments about Jews while they worked together, including referring to his Jewish colleagues as “the Jew crew” and calling one of them “a greedy Israelite.”
ProPublica and the AJC reported that during arbitration with Smith, Millsap said the comments Smith had described represented “locker room talk.”
Millsap apologized for the offensive text messages in a 2024 statement to the news outlets, saying “comments which I never intended to share publicly have come to light, and people I care about and who put their trust in me have been hurt.”
He also spoke directly at the time to the racist and antisemitic remarks.
“I want to extend my sincere apologies to my dear friends, colleagues and associates in both the black and Jewish communities for any and all pain my words have caused,” his statement continued. “My sincere hope is that the bonds and friendships that we have forged speak far louder than some flippant, careless remarks.”
Millsap is running in the Republican primary for the open seat in Georgia’s 10th Congressional District, which stretches from the far outskirts of Atlanta to the South Carolina border and includes the college town of Athens. The district is outside of the major Jewish population centers in Georgia and had fewer than 7,000 Jewish adults, according to the American Jewish Population Project.
The election is on May 19 and Millsap is running against a popular state lawmaker Houston Gaines in what is expected to be a competitive race.
Gaines called Millsap’s reported text messages “disqualifying.”
“Antisemitism has no place in this country, and as a Christian, I’ll always stand firmly against it,” Gaines said in a statement to the Forward.
Millsap did not respond to a request for comment about the text messages or whether he has conducted any outreach to the local Jewish community as part of his campaign.
In an interview last month with the Washington Reporter, Millsap said that negative interactions with local protesters had pushed him into politics. Millsap’s studio controlled land adjacent to the construction site for Cop City, a planned police training ground near Atlanta, and both sites were targeted by activists.
“They tried to ruin my reputation,” Millsap said in the interview. “Leftist journalists at ProPublica were enlisted to write hit pieces on me, call me a racist, antisemite, anything they could do to hurt my life and put me in a bad political position, because obviously DeKalb County is mostly black Democrats.”
Millsap’s Blackhall Group, whose studio produced movies including “Venom,” “Blockers,” and “Loki,” purchased the property in a county forest near the future Cop City site in 2021. Millsap said activists violently attacked construction workers on his property, burned a pickup truck and left threatening messages in 2022.
He has referred to the demonstrators as “antifa” and made his dispute with them a cornerstone of his campaign.
Antisemitism does not seem to be a major issue in the congressional race, in which Millsap and Gaines have focused on immigration and election security. The seat is considered a safe Republican district and the winner of the GOP primary is expected to win the general election.
According to the text messages filed in court and reviewed by the Forward, Millsap and his then-girlfriend, Christy Hockmeyer, complained about Jews and Black people on several occasions. “F—king Black people,” Millsap wrote in one message reported by ProPublica and AJC after Hockmeyer complained about a Black driver whose car she hit.
Hockmeyer also apologized for her role in the text message conversations with Millsap. “Those comments do not reflect who I am and I disavow racism and antisemitism as a whole,” she wrote in a statement to ProPublica and the AJC.
The ProPublica and AJC article noted that Millsap had built close ties with the Black and Jewish communities in Atlanta after relocating to the city from California and seeking to become active in its robust film industry. He had also been applauded for embracing workplace diversity.
His apology received a mixed response from those he had worked with in Atlanta.
Smith, Millsap’s former attorney, filed the text messages in a lawsuit after the two became embroiled in a heated legal dispute. An arbitrator found that Smith had violated his contract with Millsap when the two were working together and ordered him to pay $3.7 million for breach of contract and breach of fiduciary duty.
Millsap said in his 2024 apology that Smith had “violated the most basic and fundamental principle of attorney client privilege and released private text messages between myself and a former romantic partner.”
The post Atlanta movie exec who complained of ‘nasty Jews’ is running for Congress appeared first on The Forward.
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A new book explores the vibrancy of pre-war Warsaw
The Last Woman of Warsaw
Judy Batalion
Dutton, 336 pages, $30
Don’t be misled by the title of this debut novel by Judy Batalion, nor by her previous book, The Light of Days, about the role of Polish-Jewish women in the anti-Nazi resistance.
Though the specter of the Holocaust looms over The Last Woman of Warsaw, the novel is not really Holocaust fiction. It does not portray a final female survivor of that embattled city. Its subject is instead the odd-couple friendship of two young Jewish women embroiled in the artistic and political ferment of pre-World War II Warsaw.
For Batalion, recreating the atmosphere and quotidian life of this cosmopolitan city, which once elicited comparisons to Paris, was a major aim. “In our contemporary minds, historical Warsaw conjures images of gray and death,” she writes in a lengthy author’s note. But that shouldn’t negate its more vibrant past. “Long before Vegas,” Batalion writes, “Warsaw was the capital of neons, its night skyline dotted with glittering cocktail glasses and chefs carrying platters of roasts. Much of this artistic production was Jewish.”
Even this brief excerpt shows that Batalion isn’t much of a prose stylist. But awkward locutions and diction mistakes aside — including the repeated use of “cache” when she means “cachet” — Batalion generally succeeds in immersing readers in Warsaw’s lively urban bustle and heated street politics. Here, skating on the edge of catastrophe, Polish Jews of varying ideologies and backgrounds face off against antisemitic persecution and violence.
Batalion’s handling of the historical backdrop is defter than her fledgling fictional technique. The narrative of The Last Woman of Warsaw is a plodding and repetitive affair that ultimately turns on an improbable coincidence.
The plot involves the sudden disappearance of a photography professor with communist ties and the halting efforts of the novel’s two protagonists to find and free her. The pair, whose initial antagonism mellows into friendship, are Fanny Zelshinsky, an upper-middle-class Warsaw University student, and Zosia Dror, who hails from a religious shtetl family. Her adopted surname references the Labor Zionist group that now claims her loyalty. Despite their differences, the two women have in common a desire to shake off the past and forge new lives. They also share an attraction to a single man, Abram, who can’t seem to decide between them.
When the story begins, Fanny is engaged to the perfectly nice, highly suitable Simon Brodasz, whom she’s known since her teenage years. Her mother is pushing the match. But Fanny is not in love and dreads the loss of freedom marriage entails. Her true passion is photography – in particular, fashion photography, to which she brings an idiosyncratic, modernist flair.
Zosia’s passion is political activism, and she aspires to a more prominent leadership role in Dror. Like Fanny, she is at odds with her mother, who is urging her to return to the shtetl for the festivities preceding her sister’s wedding.
What brings these women together is the arrest of the famous photographer Wanda Petrovsky, to whom both are connected. Wanda is one of Fanny’s professors, and Fanny needs her help to enter a potentially career-making exhibition. Wanda also happens to be a political activist, a leader of Zosia’s Zionist group, and Zosia hopes she’ll provide her with a visa for Palestine.
As Batalion’s narrative alternates between their perspectives, the antisemitic fervor in Warsaw mounts. Polish right-wing groups have started terrorizing Jews. Police invade clubs where Jewish comedians are mocking antisemitism. At Warsaw University, where Jewish students already have been subject to admissions quotas, the humiliation of being consigned to a “Jew bench” in class comes as a humiliating shock to Fanny.
Zosia, by contrast, has seen far worse. She and her family were victims of one of the murderous pogroms that periodically roiled the Polish countryside. She has been traumatized by the burning of her home, her father’s injuries and the refusal of her neighbors to offer refuge from the catastrophe.
In late 1930s Warsaw, Polish Jews are fighting back – with protests, hunger strikes and more. But what will any of this accomplish? Will Wanda attain her freedom, with or without the help of her protegees? Will Zosia and Fanny successfully defy their families and find meaningful lives? Which woman will Abram ultimately choose? And will any of this matter as both Poland and Polish Jewry hover on the brink of destruction?
Batalion answers these questions in an epilogue describing the fate of both women and of Fanny’s photographs, which eventually take a political turn, and in her author’s note. In the note, she reveals that all four of her own grandparents “spent their young adulthoods in interwar Warsaw.” That heritage helps account for her own passion: “to memorialize Warsaw’s golden age of creativity and the Jewish art and culture that, along with six million lives, was also decimated in the Holocaust.” A worthy endeavor, however clumsily executed.
The post A new book explores the vibrancy of pre-war Warsaw appeared first on The Forward.
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Mahmoud Khalil’s anti-Zionist case to Jews shows the case for skepticism
Mahmoud Khalil wants to reassure the Jewish community. In an extensive new interview with the Forward, the pro-Palestinian protest leader recognized “a Jewish connection” to Israel, and promised that a free Palestine would include safety and security for Jewish residents.
And yet I read the interview and felt a sense of alarm.
Not because Khalil seems insincere. I believe he means much of what he says. But rather because his attempts to instill confidence fall short in ways that illuminate exactly why so many Jews remain afraid and skeptical of the anti-Zionist movement.
Serious causes for serious concerns
Khalil describes himself as a pragmatist. In his activism, however, he envisions a utopia.
He is adamant that a two-state solution preserving a Jewish majority in Israel is a nonstarter. He argues, instead, for a democratic country — or multiple countries — across Israel, the West Bank and Gaza, with equal rights for all and the right of return for Palestinian refugees.
“I know it might sound like a very ideal utopia,” he told the Forward‘s Arno Rosenfeld, “but this is what we should aspire for.”
Khalil is concerned that Jewish fear is an obstacle to Palestinian liberation, and suggests that this fear is misplaced. “People think that we want to drive all Jews to the sea,” he said. “We don’t believe that.”
But history has long shown that Jewish safety without Jewish autonomy often proves conditional. In the ideal that Khalil advances, Israel would lose the self-determination that leads so many Jews to view it as a safe haven. My late grandfather, who was deported to a Siberian gulag by the Soviets from Lithuania — where about 90% of his fellow Jews were murdered by the Nazis — put it simply: Israel was a place where he felt his fate was in his own hands.
Nor is apprehension of anti-Zionism misplaced. Report after report has cataloged persistent harassment of Jews, threats of violence against Zionists, and invocations of antisemitic tropes within anti-Zionist movements. Yes, there are moderates, many of whom are driven by a commitment to a better future for Palestinians. But there are also extremists, and scenes on campuses and city streets around the world have shown that their tactics often prevail.
Adding to Jews’ sense of alarm are decades of violence within Israel — including the Second Intifada and Hamas’ Oct. 7, 2023 attack — and globally, including recent violence against American Jewish institutions. Jews are not scared because we misunderstand the aims of the anti-Zionist movement. We are scared for good reason.
Political abstractions
A genuine effort at reassurance would engage with that truth. Instead, Khalil dances around it, suggesting that the thing we’re worried about doesn’t actually exist. He says, for example, that the pro-Palestinian campus movement did a good job of keeping antisemitism at bay. It did not.
Even when it comes to the well-established facts of Hamas’ Oct. 7 massacre, he demurs: “I wouldn’t rule out that Hamas targeted civilians,” he said, “but I wouldn’t confirm it either.”
When referencing the excesses of pro-Palestinian campus protests, Khalil retreated into vague language. “There were maybe some bad actors,” he said. His denunciations of antisemitism remained safely generic: “some anti-Zionist actions may touch on antisemitism that we absolutely oppose.”
Who, exactly, is “we” here?
Political movements are not abstractions. They consist of real people doing real things. When excesses are common enough, they become characteristic. This is something I’ve long argued about the Israeli right as well. We cannot dismiss settler violence or anti-Palestinian abuses as fringe when they keep escalating and enjoy support from those in power.
It’s easy to say you oppose antisemitism or suffering by Palestinians, or that a utopian future is possible if we all look past our fear. It’s much harder to look within your political coalition and call out the specific negative acts your allies have committed — or acknowledge their very real consequences.
Denial and Oct. 7
Circle back to Khalil’s alarming equivocation about Oct. 7.
He frames the killings as civilians being “caught up” in violence, not targeted by it. Notice the evasive grammar: Khalil says “there were crimes committed” and Hamas has “a responsibility,” rather than “Hamas committed crimes.”
Khalil does explicitly say that he thinks Hamas is “not up to the Palestinian aspiration for liberation” and that he “doesn’t believe in political Islam.” But for someone so attuned to the language of liberation and justice, he is remarkably comfortable with passive voice when it comes to Hamas carrying out horrific murders on Oct. 7.
As I’ve previously written, the evidentiary record is overwhelming. Amnesty International and Human Rights Watch, organizations critical of Israel, independently concluded that Hamas deliberately and systematically targeted civilians. In one intercepted call, a Hamas terrorist bragged to his parents, “Look how many I killed with my own hands! Your son killed Jews!”
Neutrality on established facts is no different than denialism. If you are trying to reassure Jews but can’t acknowledge that Hamas killed Jews as such, any reassurance you have to offer will ring hollow.
A practical peace
Khalil says he is opposed to any violence against civilians but cannot dictate what Palestinians who experience Israeli human rights abuses should do. He says he understands why Palestinians turn to resistance, even violence, in the face of oppression.
But if you say you understand why decades of oppression push Palestinians toward resistance, then you should also understand why decades of terrorism push Israelis toward aggressive security measures, including ones that harm Palestinian civilians. If every act is merely a justified reaction to a prior act, we will end up in a world in which it’s too easy to argue that all violence is legitimate, rather than none of it.
The deep culture of mutual suspicion that this painful history has bred may be the biggest obstacle to Khalil’s utopian vision.
I share Khalil’s aspirations for peace. But Israelis, even most liberals, leftists and the millions who have protested the right-wing government, say they won’t accept a one-state solution. One 2025 poll by The Institute for National Security Studies, an independent think tank affiliated with Tel Aviv University, found that only 4% of all Israelis, and 1% of Israeli Jews, prefer a one-state solution with equal rights. Palestinians, too, are skeptical of a single state with equal rights.
At the same time, many Israelis oppose a two-state solution. So do many Palestinians. The people who live in the region hold complicated and often contradictory ideas of the path forward, and Khalil does not necessarily speak on their behalf.
Any anti-Zionist looking to reassure Jews needs to, at minimum, acknowledge that Hamas killed civilians deliberately, because they were Jews; condemn specific instances of antisemitism rather than just the concept in the abstract; and ask why Jews are scared right now, rather than telling us we shouldn’t be.
Yet Khalil’s reticence to be honest about his own movement’s flaws is a mirror of our own. Supporters of Israel have long been reluctant to name the failures of the Israeli right and to reckon with how settlements and the occupation harm Palestinians.
Khalil recounts being born in the Palestinian refugee camp Khan Eshieh in Syria, and raised on stories of his grandparents’ expulsion from a village near Tiberias. He was shot by an Israeli soldier when he was just 16. His effort to nevertheless engage with Israeli perspectives, like by reading Ari Shavit, is admirable. Jews should similarly listen to Palestinian perspectives and sit with Palestinian stories, including Khalil’s and those of Palestinians living today in the West Bank and Gaza.
The only way for any of us to build a durable political movement is to be exactingly honest about the ways in which we have, so far, failed, and to ask others with open ears: Why are you so scared?
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