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Does anime have a Nazi problem? Some Jewish fans think so.
TAIPEI (JTA) — When the Season 3 plot twist of “Attack on Titan” aired in 2019, viewers wasted no time in jumping online to discuss what they saw.
In the world of “Attack on Titan” — an extremely popular Japanese anime series now in its final season, which started in March and does not have a known end date — humanity has been trapped within a walled city on the island of Paradis, surrounded by Titans, grotesque giants who mindlessly eat any person who gets in their way.
In the third season, the Titans’ origins are revealed as a group called the Eldians, a group that made a deal with the devil to gain Titan powers with which they subjugated humanity for years. A group called the Marleyans later overthrew the Eldian empire and forced them into ghettoes, forcing them to wear armbands that identified their race with a symbol similar to the Star of David. Political prisoners were injected with a serum that turns them into the terrifying Titans.
The implications that a race meant to represent Jews had made “a deal with the devil” to achieve power were too much for some to bear. Fans debated the meaning on Twitter and Reddit as think pieces pointed to the show’s “fascist subtext” and possible antisemitism as ratings and viewership climbed. Some viewers defended the series as a condemnation of those ideas and a meditation on moral ambiguity, but others said the plot’s condemnation of fascism was too weak. The New Republic in 2020 called “Attack on Titan” “the alt-right’s favorite manga.”
Either way, in November 2021, the show’s production team announced it would cancel the sale of Eldian armbands — the ones Eldians were forced to wear in their ghettos — explaining that it was “an act without consideration to easily commercialize what was drawn as a symbol of racial discrimination and ethnic discrimination in the work.”
“Attack on Titan” is only the latest manga (a specific type of Japanese comic books or graphic novels) or anime (TV shows or movies animated in the manga style) series on the chopping block. As it continues to gain popularity outside of Japan’s borders, the Japanese animation medium as a whole has been hit with criticism for alleged glorification of antisemitism, fascism and militarism. The debate has been fueled by a stream of examples: the literal evil Jewish cabal in “Angel Cop,” (references to Jews were later removed in the English-language dubbed version), the Fuhrer villain in “Fullmetal Alchemist,” the Nazi occultism (in which Nazis channel the occult to carry out duties or crimes) in “Hellboy,” and the Nazi characters in “Hellsing” and “Jojo’s Bizarre Adventure” to name a few.
Western viewers are not the only ones taking issue. Fans of “Attack on Titan” in South Korea — which was subject to Japanese war atrocities during World War II that Japan continues to deny — have taken issue, too. Revelations from Hajime Isayama, the creator of the original “Attack on Titan” manga, that a character in the series was inspired by an Imperial Japanese army general who had committed war crimes against Koreans were met with heated discussion and later death threats from Korean fans online. Some also pointed to a private Twitter account believed to be run by Isayama that denies imperial Japan’s war atrocities.
“Ridiculous the lengths a fandom will go to downplay the blatant antisemitism in a series and protect and lie about the creator of said series,” wrote one Twitter user. “[Y]ou doing this and ignoring koreans and jewish people says a lot.”
These themes are so common in manga and anime that some independent researchers like Haru Mena (a pen name) have begun creating classifications for the many Nazi tropes that make regular appearances. Mena, a military researcher who lectures annually at the Anime Boston convention about World War II and Nazi imagery in anime and manga, says the phenomenon is a result of how Japan remembers its role in World War II — not as the aggressor, but as a victim of war.
“Japan does not want to be the bad guy. They love to have other people be the bad guy,” he said. “That’s why they’re using all these Nazi characters. We all agree Nazis are bad, war crimes are bad, no decent self-respecting nation would ever do [what they did].”
But many Jewish anime fans, like Reddit user Desiree (who did not offer her last name for privacy reasons), have taken issue with the way some anime and manga series portray Nazis while reducing the Holocaust to narrative devices.
“I think that most people who are telling these stories aren’t coming from an area where this would be as personally familiar,” she said. “There’s almost no resonance to it. Because they take away all these details they make it a big trope.”
hi
anime and manga have an antisemitism problem
good day
— Kay (he/they, she for friends only) (@Cayliana) February 19, 2022
East Asian interest in Nazi imagery has also bled over into the West in the form of news headlines in recent years — involving everything from Nazi-themed bars and parades to Nazi cosplay in Japan, Taiwan, Thailand and Korea.
But some experts say that repeated references to Nazi villains and World War II in manga and anime have more to do with Japanese history and culture than with antisemitism.
“There is a fascination with Nazism in Japan to some degree or another,” said Raz Greenberg, an Israel-based writer whose Ph.D. research examined Jewish influence on Japan’s “God of Comics,” Osamu Tezuka, an artist sometimes referred to as Japan’s equivalent to Walt Disney. In 1983, Tezuka released the first in a five-volume series called “Adolf,” a popular manga set in World War II-era Japan and Germany about three men with that name — a Japanese boy, a Jewish boy and Hitler.
“I think there’s something fascinating about Nazi aesthetic, certainly for countries that never actually participated in the war against the Nazis. But I don’t think it’s that different from, say, the way George Lucas made the Empire in the ‘Star Wars’ films very Nazi-like in its aesthetic,” Greenberg said.
As Greenberg notes, Western media is also full of Holocaust references — some more successful in its repudiation of Nazi ideology than others — like the numbered tattoos and recent use of a Lithuanian prison camp as a filming location in the Netflix hit show “Stranger Things.”
“What makes people angry is, people think when the Japanese approach it, they approach it without understanding. And it’s easier to think that they don’t understand it when you look at a show like ‘Attack on Titan,’” Greenberg said.
Liron Afriat, a Ph.D. candidate at the Hebrew University of Jerusalem’s Asian Sphere program and the founder of the Anime and Manga Association of Israel, said while shows like “Attack on Titan” reference the Holocaust and use World War II-era imagery, it’s likely that Western viewers are misinterpreting its intended parallels to Japanese politics. … particularly Japan’s past of aggressive and corrupt militarism and late former Prime Minister Shinzo Abe’s attempts to reinstate a non-defensive military.
“Western people are very eager to jump to conclusions when it comes to Asian media. This is something I see a lot in my work and it’s very frustrating,” she said. “There is a sense that because Japanese pop culture is so popular nowadays, it’s very easy to kind of dogpile on it and say it’s racist.”
In recent decades, anime series have been watched by hundreds of millions of people around the world, and the medium has gone from being seen in the West as a geeky niche genre to a mainstream phenomenon. Though show creators may be conscious about their references, some fans say the fascist and Jewish references, especially the more clear-cut ones — like the Jewish conspiracy in “Angel Cop” — have real-life consequences.
Many in the anime fan community today remember a 2010 incident at Anime Boston when a group of cosplayers dressed up as characters from “Hetalia: Axis Powers,” a series that anthropomorphized Axis and Ally countries, was photographed making Nazi salutes just around the corner from the city’s Holocaust memorial.
“It used to be like, I can go to an anime convention and they would be selling uniforms that were clearly meant to be Nazi uniforms, but sans the swastika,” Desiree said. “And then over time, I noticed conventions started banning that kind of thing.”
“JoJo’s Bizarre Adventure” features a Nazi character named Rudol von Stroheim. (Screenshot from YouTube)
Noah Oskow is the managing editor of the digital magazine Unseen Japan and a Jew who has lived in Japan for seven years. He recalled similar experiences at U.S. anime conventions.
“I think that it is problematic to portray Nazis and the Holocaust in the very frivolous way that it’s often portrayed,” he said. “Even in a place that is so far removed from Japan, that aesthetic of Nazis from manga or anime was seeping into somebody’s choices in a far-removed anime and manga event.”
Oskow says recent portrayals of Nazis and fascism in anime and manga lack the depth necessary to confront an issue like the Holocaust, but that some subtext in shows like “Attack on Titan” is likely missed by Western viewers since it is created for a Japanese audience.
Still, he says, as a Jew, there is a discomfort with these depictions, and the problems with simplifying themes like fascism and genocide should not be ignored just because the product came from Japan — particularly as stereotypes about Jews as having outsize influence remain common. In Japan, as in other East Asian nations such as South Korea, China and Taiwan, books and classes on how to become as smart and wealthy as Jews — believed to be among the most powerful people in media and finance — are not uncommon.
“In my years of discussing Jews with Japanese people…they really think of Jews as an ancient historical people or the people who were killed in the Holocaust unless they have some sort of conspiratorial idea. But most people have no conception of Jewish people,” Oskow said. “So when they’re portraying Jews in manga or anime or any sort of media, and when readers or viewers are engaging with that media, I just don’t think there’s this thought of how a Jewish person would perceive how they’re being portrayed.”
Jessica, a 29-year-old Jewish and Chinese anime fan from Vancouver who also requested her last name be left out of this article, said she deliberately chooses not to watch shows such as “Attack on Titan” and “Hetalia” because she finds the discussions about them among fans to be unproductive and frustrating. Desiree echoed Jessica’s experience of being ignored when raising the topic of antisemitism within the medium or within the fan community on platforms such as Reddit.
“I saw the reactions of other Jewish fans and, more importantly, saw the reaction of the goyish fans — the way ‘Hetalia’ fans did the sieg heil in front of a Holocaust memorial, the way that [‘Attack on Titan’] fans would swarm concerned Jewish fans in droves to tell them that they should perish in an oven, and I decided I didn’t want anything to do with anime that attracted that sort of fanbase,” Desiree said.
“Attack on Titan” returned to streaming services on March 4 with the first part of its final season. In the first episode, the protagonist Eren, whom audiences have followed for a decade, begins carrying out a global genocide known as “the rumbling” with the end goal of destroying all Titans for good and bringing peace. The end result is a wipeout of 80% of humanity, an act that Eren believes was the only path to freedom. He thinks humans must all suffer as a consequence of being born into the world — a nihilistic philosophy that can be found among the manifestos of school shooters and incels.
In the original manga series, Eren’s supporters on the island militarize in order to defend Eren’s violent act, chanting a slogan: “If you can fight you win, if you cannot fight you lose! Fight, fight!” The ending was seen as morally ambiguous and was not popular with fans, who mostly refuted it due to poor writing. Many hope that the anime series will go a different route in its final episodes, which have not yet been released or given future release dates.
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Young Americans increasingly likely to view Hamas as ‘resistance,’ not terrorists
American adults under the age of 30 increasingly view Hamas as “militant resistance” operating on behalf of the Palestinian people, rather than a self-interested terrorist organization, according to data gathered by the American Jewish Committee.
In a poll conducted one year after the Oct. 7 Hamas attack against southern Israel, 33% of 18- to 29-year-olds described Hamas as a “resistance group” — nearly double the 17% of Americans over 30 who used that label — and that figure jumped to 43% this past fall.
The findings, shared with the Forward this month, track with another survey last summer that found 60% of 18- to 24-year-olds sided with Hamas over Israel in the Gaza war. It suggests the support that young Americans express for the Palestinians, and the same cohort’s deeply negative views toward Israel, are breaking through what was long a taboo: sympathy for an organization classified as a terrorist organization by the United States, and which has engaged in decades of violence against Israeli civilians.
Tariq Kenney-Shawa, a fellow at the pro-Palestinian think tank Al-Shabaka, attributed this shift to a broader disillusionment with mainstream media and the political establishment that has long presented Israel as a close U.S. ally with shared values.
“Americans have come to not trust these traditional narratives,” he said in an interview. “That spills over into thinking, ‘If we’ve been lied to about Israel’s true nature, maybe that means we’re also being lied to about Oct. 7 and groups like Hamas.’”
Open support for Hamas has been relatively rare among the protesters demonstrating against Israel’s prosecution of the war in Gaza. But constant demands for activists to condemn Hamas after Oct. 7 quickly became a source of derision on the left, while slogans and iconography celebrating Hamas violence became more common as the conflict dragged on and Israel killed tens of thousands of Palestinians, destroyed the vast majority of Gaza’s infrastructure and restricted aid shipments as experts warned of famine and raised the specter of genocide.
But many Jewish leaders and other critics of Hamas say young people are misinformed about the nature of Hamas — including its lukewarm support among Palestinians living in Gaza — and the war.
They also say apparent support for Hamas, especially in a public opinion poll that offers limited response options, may be less about genuine support for the organization and its political platform and more about picking the answer that aligns with their support for Palestinians.
“There’s a tendency in our very polarized society to find a camp and stay in the camp and whatever words the camp is using become your words,” said Julie Fishman Rayman, vice president for policy at the American Jewish Committee.
Complex — and incomplete — views on Hamas
In the immediate aftermath of Oct. 7, a core of activists sympathetic to Hamas made their presence known. Demonstrations in major cities celebrated the attacks, while the coordinating body of Students for Justice in Palestine approvingly referred to Hamas militants as “the resistance.”
But as a broader protest movement calling for an immediate ceasefire in Gaza grew — drawing in Jews and others who simultaneously condemned Hamas violence on Oct. 7 and called for Israeli hostages to be released — some leading Jewish organizations and pundits continued to paint the demonstrators as terror supporters.
What data was available painted a more complex picture.
A study conducted by Eitan Hersh, a Tufts University professor, found that 5% of self-identified leftist college students — those who were generally organizing and participating in the campus protests against Israel — believed that “all Israeli civilians should be considered legitimate targets for Hamas,” compared to 17% of conservative students.
And since the Israel-Hamas war began, the Harvard/Harris poll, a collaboration between the school’s Center for American Political Studies and a private polling firm, has consistently found that between 40% and 50% of the youngest American adults — those aged 18 to 24 years old — side with Hamas over Israel when forced to choose. The monthly poll’s August edition made headlines when that figure briefly jumped to 60% support for Hamas.
A member of the Democratic Socialists of America’s New York City chapter pointed to that statistic while pressing Shahana Hanif, a progressive member of city council, during an endorsement meeting on why she had condemned local protesters who had chanted in favor of Hamas.“With 60% of Gen Z supporting Hamas against Israel, many of us are realizing now that we’ve been lied to all our lives,” the person said, according to a recording obtained by Jewish Insider. (A NYC-DSA spokesperson said that members do not reflect the organization’s position.)
But most coverage overlooked the poll’s other findings, including that 61% of that age group believed “Hamas must release all remaining hostages without any conditions or face serious consequences” and that 63% disapproved of Hamas’s conduct in the war.
The Harvard/Harris survey has been criticized for being unreliable and at times producing results about antisemitism and the Israeli-Palestinian conflict that are “bizarre and difficult to account for,” in the words of a Harvard Crimson columnist.
But some observers say that people expressing sympathy for Hamas may have nuanced views.
“I speak to a lot of Palestinians who have supported Hamas not because they support terrorism but because they support action to oppose the occupation,” said Roei Eisenberg, chair of the young adults network at Israel Policy Forum, a dovish Zionist think tank. “They have a Palestinian Authority that’s broken and corrupt and not actually standing up for them — and they see Hamas in Gaza at least putting up a fight.”
Ahmed Moor, a Palestinian-American writer and fellow at the Foundation for Middle East Peace, said that supporters of the Palestinians in the United States are following a similar logic as they see evidence of devastation and Israeli brutality in Gaza. “Why are Zionists so resistant to the idea of Palestinian resistance?” he asked. “Any normal person would look and say, ‘Of course these people have a right to resist.’”
That sentiment has circulated on social media, often among anonymous creators.
After Israel killed Yahwa Sinwar, the military leader of Hamas in Gaza, many users on TikTok created videos praising the bravery of his final moments in which he is recorded throwing a stick at an Israeli drone.
“In a million years, you would never see Joe Biden, you would never see Ben-Gvir, you would never see any of these people die for anyone but themselves,” a Jewish user who goes by Dirty Alex told his 23,000 followers.
He added an ambivalent caveat: “It’s weird because I think — because of Oct. 7, the people who perpetuated it should be held accountable — and I think they would agree, actually — but at the same time I will always support righteous struggle.”
That tendency to equivocate when it comes to Hamas’s most egregious atrocities is common even among those in the U.S. who otherwise express support for the group. Many have sought to downplay the Oct. 7 attack as primarily an assault on Israeli military positions and claiming that atrocities committed against civilians were exaggerated or completely fabricated.
On social media, many users have rushed to highlight any evidence that Israeli hostages were treated well by Hamas during captivity. For example, several large accounts claimed that Israeli Maya “Bengi” had refused to meet with Israeli Prime Minister Benjamin Netanyahu because his “hands are stained with the blood of children in Gaza.”
But the real hostage, named Maya Regev, did meet with Netanyahu and said she had been abused by sadistic doctors in Gaza.
The most popular symbol associated with Hamas among Israel’s opponents in the U.S. is also connected with attacks on the Israeli military rather than civilians: The inverted triangle, which comes from grainy propaganda videos that use the red arrow to point out Israeli military units operating in Gaza immediately before Hamas militants fire at them.
Kenney-Shawa, the Al-Shabaka fellow, said the growing support for Hamas among young Americans suggests that “more people are vibing with the idea of Palestinian resistance” rather than aligning with the organization’s specific tactics or policies.
Others acknowledge that while Hamas has engaged in war crimes and violations of international law, Israel stands accused of engaging in similar behavior. “Palestinian resistance has always been armed — and that’s always been in line with international law — and the violation of international law has also occurred both by Zionist groups and Palestinians,” Moor said. “Everyone has committed crimes.”
Hamas officials have also sought to present positions to western audiences that are palatable to progressives, emphasizing measured political positions and portraying Israel as the more radical and intransigent party.
“We are politically realistic,” Khaled Meshaal, a senior Hamas leader, told Drop Site News in December. “We are ready to engage with any serious project to establish a Palestinian state along the 1967 borders even though I realize, unfortunately, that this is impossible because of Israeli policy.”
Hamas as symbol of resistance
Hamas coming to represent the strongest resistance to Israel among young people in the U.S. is frustrating for some Palestinians, who say it sanitizes what Hamas actually represents and overlooks the preferences of Palestinians in Gaza.
Khalil Sayegh, a politician analyst and director of the Agora Initiative, which advocates for Palestinian rights in Israel, the West Bank and Gaza, said he appreciated that Americans were turning away from an uncritical pro-Israel narrative but worried about polarization in the opposite direction.
“Resistance has become basically equal to Hamas and Hamas equal to resistance,” Sayegh said. “That’s a very toxic and wrong thing.”
He said that “Israeli apartheid and genocide” was the main problem in Gaza but that Hamas also stood in the way of establishing a “secular, democratic Palestine.”
While around half of Palestinians in Gaza said they were satisfied with Hamas’s performance in the war, according to an October survey, the poll also suggested that the organization would be soundly defeated if open parliamentary or presidential elections were held across the West Bank and Gaza.
Around 33% of voters in Gaza would support a Hamas candidate for president, while most of the remainder would either vote for Marwan Barghouti, a leader of secular rival Fatah who is currently imprisoned by Israel, or not participate, according to Palestinian Center for Policy and Survey Research. Respondents were roughly split on whether negotiations and peaceful protest or “armed struggle” were the best method to establish a Palestinian state.
Throughout the 1980s and 1990s there were robust debates in the Palestinian diaspora over which political factions to support. But Sayegh said those faded from public view as Israel eliminated most credible alternatives and fears grew that open critique of Hamas would be weaponized by pro-Israel groups to weaken the pro-Palestinian movement.
Additionally, he said, activists in the U.S. who support Hamas have intimidated its critics within the Palestinian community. “There is still a debate but there is no public debate,” Sayegh said. “The masses that are supportive of Hamas have scared the people who oppose Hamas into silence.”
Ahmed Foud Alkhabtib, who moved from Gaza to the U.S. in high school, has become one of the most prominent Palestinian critics of Hamas and now positions himself in opposition to most of the pro-Palestinian movement.
Alkhabtib, the founder of an initiative called Realign for Palestine at the Atlantic Council, attributed the rise in support for Hamas to a combination of ignorance and malice within the “pro-Palestine industrial complex” composed of “far-left meets far-right meets the Islamists meets the Taliban and al-Qaeda meets the idiot Jewish kids who said they were lied to about Israel at summer camp.”
But he said that some Palestinians had told him during the war that they shared his antipathy toward Hamas — especially as some blamed the group for contributing to aid shortages over the summer — but that they would speak out once Israel ended its military operations. “I did pick up on notes of the pro-Hamas euphoria dying down,” Alkhabtib said.
And yet both Palestinian and Jewish observers said that leading pro-Israel organizations have also contributed to polarization around the Israeli-Palestinian conflict that drives some people toward Hamas or makes them reluctnat to criticize the group.
Eisenberg, with the Israel Policy Forum, said that many Jewish groups have refused to acknowledge Israeli atrocities in Gaza and rushed to paint the country’s critics as terror supporters. “It’s coming from a place of being unable to hold complexity,” he said.
Alkhabtib said he has experienced this firsthand. Despite being an unequivocal critic of Hamas and maintaining close ties to many Jewish organizations, he has found little tolerance for also critiquing the Israeli far right.
“The pro-Palestinian people are watching me — the pro-Hamas people are watching me — and saying, ‘Well what incentive do I have if you’re been Mr. Dialogue and Engagement and they turn on you the second you criticize Israel,” Alkhabtib said. “There’s something to be said about the role of Jewish communities to reverse these problematic trends.”
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At Berlin screening, former Israeli hostages see film about their captivity rewritten after redemption
(JTA) — BERLIN — They stood outside Berlin’s Babylon theater, bundled against the cold, laughing and dragging on cigarettes: the Cunio twins David and Eitan, and their younger brother Ariel.
David and Ariel were among the last Israeli hostages released in October from Hamas captivity, after 738 days. Their presence in Berlin — for a screening of a film about them, now recut with a redemptive ending — felt almost like an apparition. On the other side of two heavy glass doors were hundreds of theatergoers, people who had long waited for this moment.
The brothers and their extended family were in Berlin for a second premiere of Tom Shoval’s film “Letter to David.” The original film, shown in 2025 at the Berlin International Film Festival, or Berlinale, dove deep into the struggles of a family whose members had been abducted from Kibbutz Nir Oz on Oct. 7, 2023. By then, six kidnapped members of the family, including three children, had been freed. But David and Ariel remained in captivity.
“Last year I was standing before the screening with a poster of David and Ariel. I was determined, every time I showed the film, to say that it’s an unfinished film,” Shoval told the sold-out audience at the theater in former East Berlin.
“And now I’m standing here. I have David in the audience, and I have Ariel in the audience,” he continued. “This is a precious, precious moment.”
The film “is a testament to love, hope and all the people who did not give up during the two years I was in captivity,” David Cunio said in Hebrew, standing on the stage with his extended family. “You gave me a voice when I could not be present. You were there for me.”
The film’s second showing came as tensions over the war in Gaza and Germany’s support for Israel roiled the Berlinale. After the jury’s president, director Wim Wenders, brushed off a journalist’s exhortation for the festival to take a stand against Israel, the Indian author Arundhati Roy announced she would not attend, and some 80 filmmakers and stars signed an open letter of protest.
Festival director Tricia Tuttle issued a statement saying that “artists should not be expected to comment on all broader debates about a festival’s previous or current practices over which they have no control. Nor should they be expected to speak on every political issue raised to them unless they want to.”
Journalists and filmmakers continued to raise the issue, even on the festival’s final weekend, when some award winners — including the Syrian-Palestinian director Abdullah Al-Khatib, who won best debut film — swatted back at the festival jury, criticizing what they see as Germany’s general support for Israel. Al-Khatib’s allegation that Germany has been “partners in the genocide in Gaza by Israel” prompted a German minister to walk out of the awards ceremony on Sunday.
Friday’s screening of “Letter to David” was by contrast a love fest, and the two police cars out front and uniformed officers circulating inside appeared to have little to do. The audience gave the entire family a standing ovation before the screening.
“I think this is a piece of history,” audience member Nirit Bialer, an Israeli who has lived for years in Berlin, said in an interview. “Just seeing the family, and just following the story about this family on the media, going to the Hostages Square in Israel every time I was there in the last two years: Wow, I’m speechless.”
The film’s original ending showed twins David and Eitan Cunio as actors, grappling with each other in an embrace that is both tender and violent, in a scene from Shoval’s feature film, “Youth,” screened at the Berlinale in 2013.
That ending now segues into a new conclusion, in which the reunited Cunio family embraces. They also view the film together, and Shoval captures their faces as the projector beams from behind.
Shoval said in an interview that he had not changed anything in the first part of the film. “I wanted to leave it as a time capsule, in a way, of how we perceived it back a year ago,” he said.
Though he had been invited to be with the family at their reunion, he chose not to, explaining, “I thought it’s a moment that belongs to them and not to me.”
But he spoke with David soon after he was released. And shortly afterward, he visited Sharon and David Cunio at their home. “I came in the morning and we sat until sunset together and we talked. Even when I’m thinking about it now, I’m getting emotional, because it was really…” He paused. “You’re waiting for a moment for this for so long.”
The Friday screening was not an official part of the Berlinale, but the beleaguered festival director Tuttle made a point of taking the stage herself. The film has been “finished in the way that Tom only hoped and dreamed and believed that he would be able to finish it,” she told the audience.
“We were horrified along with the world and all of you when David Cunio and many members of his family were abducted by Hamas,” she said. And on their release “we rejoiced with everyone as well.”
Saying that the new version was completed too late to be included in the festival schedule, Tuttle thanked two co-production companies that work closely with Israeli artists for backing Friday’s screening: the Israel-based Green Productions and the Berlin-based Future Narrative Fund.
Audience members seemed loath to leave the theater after the screening, lingering over what some described as mix of happiness and worry.
“The fact that David is able to see the movie makes us see the movie in a different way,” commented Konstantin, who had seen the original version last year. A young Jewish actor who lives in Berlin, he asked that his full name not be used, out of concerns about antisemitism. “With the ending, it’s like a full circle, completed.”
Seeing the film again with the Cunio family present “was very uplifting and very happy,” said Berliner Julia Kopp, who also saw the film last year. “But at the same time, it’s not a happy ending … I also have a bit of a heavy heart,” worrying about “how life will go on for them.”
Both brothers have indicated that reentry into everyday life has been challenging after two years of captivity for them and two years of traumatized advocacy by their loved ones. And Ariel Cunio and his partner Arbel Yehud, who was held in captivity until January, have raised nearly $1.8 million since launching a crowdfunding campaign last week aimed at allowing them the time and space to “come back to life.”
A crowdfunding campaign launched on behalf of David and Sharon Cunio their twin daughters, also former hostages, says, “The family not only has to deal with the trauma that follows being held hostage and the events that transpired on October 7th, but also needs to rebuild their entire lives from scratch.”
Shoval said the film — and the screening — offered a vision for what a more settled future might look like.
“For me, the film is about the unification of the brotherhood, and what that means to be torn apart from each other, but also to get back,” Shoval said. “They can sit in the theater and they can see themselves. They can see what they missed, what happened. They can project about the past, about the present. This is a power of cinema, I feel. It felt natural for me to do that: to bring them back.”
The post At Berlin screening, former Israeli hostages see film about their captivity rewritten after redemption appeared first on The Forward.
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He may have been the world’s most famous mime, but in this play, he won’t shut up
There is a kind of sublime poetry in Marcel Marceau’s first act.
As a young man in occupied France, Marceau (then Mangel) forged identity papers and shepherded dozens of Jewish children across the Alps to Switzerland. In scenarios where staying quiet was essential for survival, Marceau soothed his charges into silence with his own.
In Marcel on the Train, Ethan Slater and Marshall Pailet’s play of Marceau’s pre-Bip life, the world’s most famous mime is anything but silent.
The action of the play, which bounces through time back to Marcel’s father’s butcher shop and forward to a P.O.W. camp in Vietnam (don’t ask), unfolds over the course of a train ride. Slater’s Marceau is chaperoning four 12-year-old orphans, posing as boy scouts going on a hike.
The kids — played by adults — are a rambunctious lot. Marceau tries to put them at ease juggling invisible swords, performing Buster Keaton-esque pratfalls and exhausting his arsenal of Jewish jokes that circle stereotypes of Jewish mothers or, in one case, a certain mercenary business sense.
Pailet and Slater’s script toggles uncomfortably between poignancy and one-liners with a trickle of bathroom humor (the phrase “pee bucket” recurs more often than you would think.)
The terror of Marceau’s most melancholy escortee, Berthe (Tedra Millan) is undercut somewhat by her early, anachronistic-feeling declaration, “Wow, we’re so fucked.” The bumptious Henri (Alex Wyse) would seem to be probing a troubled relationship with Jewishness and passing, but does that discussion a disservice when he mentions how it wouldn’t be the biggest deal if he “sieged a little heil.” Adolphe (Max Gordon Moore) is described as “an exercise in righteousness” in the script’s character breakdown. Sure, let’s go with that.
The presence of a mute child, Etiennette (Maddie Corman), is tropey and obvious. It doesn’t suggest that she inspired him to abandon speaking in his performances, but it doesn’t dismiss that possibility either.
But the chattiness and contrived functions of the fictive children are made more disappointing by the imaginative staging maneuvering around the shtick. Slater, best known for his role in the Wicked films and as Spongebob in the titular Broadway musical, is a gifted physical performer.
When things quiet down, Pailet’s direction, and the spare set by scenic designer Scott Davis, create meadows of butterflies. Chalk allows Marceau to achieve a kind of practical magic when he writes on the fourth wall. One of the greatest tricks up the show’s sleeve is Aaron Serotsky who plays everyone from Marceau’s father and his cousin Georges to that familiar form of Nazi who takes his torturous time in sniffing out Jews.
Surely the play means to contrast silence and sound (sound design is by Jill BC Du Boff), but I couldn’t help but wonder what this might have looked like as a pantomime.
While the story has been told before, perhaps most notably in the 2020 film Resistance with Jesse Eisenberg, Slater and Pailet were right to realize its inherent stage potential. It’s realized to a point, though their approach at times leans into broad comedy that misunderstands the sensibilities of its subject.
Like Slater, who learned of the mime’s story just a few years ago, Marceau was an early acolyte of Keaton and Chaplin. But by most accounts he cut a more controlled figure — that of a budding artist, not a kid workshopping Borscht Belt bits on preteens.
The show ends with a bittersweet montage of Bip capturing butterflies (not jellyfish — you will probably not be reminded of Mr. Squarepants). It means to frame Marceau’s established style as a maturation that nonetheless retains a kind of innocence, stamped by the kids he rescued.
“You’ll live,” Berthe tells him in a moment of uncertainty. “But I don’t think you’ll grow up.”
In Marceau there was, of course, a kind of Peter Pan. But there’s a difference between being childlike and being sophomoric.
Marcel on the Train is playing through March 26 at Classic Stage Company in New York. Tickets and more information can be found here.
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