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Glazed over: 2010s vibes abound in Ilana Glazer’s made-in-Toronto comedy special ‘Human Magic’
In 2016, the American comedian Ali Wong put out a comedy special. As reviewer Michelle Ruiz put it at the time for Vogue, “Until her, I’d never seen a pregnant stand-up. I’d never seen a pregnant stand-up pretending to trap a man’s head between her legs in simulated cunnilingus either, but this is the beauty of Baby Cobra.” Jason Zinoman of the New York Times meanwhile called Wong’s performance “something new, a pregnant woman in her third trimester delivering a deliriously filthy and funny hour of comedy woven into a sneakily feminist assault on the double standards of parenting.”
Going on a decade ago, it was refreshing, raw, what have you, to see a woman in this deeply domestic state, speaking about sex and bodies in a way more commonly associated with… well, with men. And a racialized woman, too—a further change of pace in the white, male world of stand-up.
During that era, American comics Abbi Jacobson and Ilana Glazer had moved their web series Broad City onto cable television, showing that young women—not just young men—could be hijinks-having stoners. We were still in the era (Knocked Up, 2007) where men (perhaps played by Seth Rogen) could be slackers and some no-nonsense woman, perhaps played Katherine Heigl, would be the responsible one. We’re kind of back in that era now, but for five minutes there, it was allowed that women sometimes slacked.
Like seemingly all Jewish women at the time, I was a huge fan of this show. I particularly loved the 2015 episode, “Knockoffs,” that weaves together a plot with Abbi’s character trying out a certain new act with a male partner and Ilana’s discount handbag shopping with her mother. It was the second of the two that truly made the episode, showcasing a part of the New York mother-daughter experience never before seen, or at least not seen since The Nanny. But you need both threads to make sense of what follows: The bargains turn out to be found underground, as in literally beneath the road, yielding one of the best comedic lines of all time: “All the good shit is always down a manhole.”
Art about slackerdom, told from the slacker’s perspective, is always a challenge, but they nailed it. Broad City was objectively delightful, but also innovative in a way of specific interest to me: it presented unambiguously Jewish, Jewish-looking young women as protagonists, not sidekicks. They were the comic relief and the ones out having sexual adventures, and going on a satirical version of Birthright Israel. After growing up surrounded by a Gwyneth-led beauty standard, I got a kick out of knowing that I now lived in a world where women like these were considered desirable. What’s it to me if men think Scarlett Johansson’s hot? Abby and Ilana, this is another matter.
I’m a few months older than Jacobson and (this will be relevant) a few years older than Glazer, but close enough in age to both that it was a bit like watching my own early-20s Brooklyn-dwelling life, except hilarious. I remember it as a kind of counterpoint to Lena Dunham’s Girls, about a not-dissimilar milieu and life stage, but just so much sillier, and therefore more my speed. While I can’t say I’m committed to realism or representation in my television viewing generally (or else why so devoted to Midsomer Murders?) there was something special about how this show was covering familiar-to-me territory and getting it so right.
***
As I will be the first in human history to observe, time passes. For most of us, it’s a bit who cares. It’s unremarkable if the classmate who partied hard at 19 is more settled-down at 39. Not so if you made a name for yourself as your own free-spirited slacker-stoner alter ego, the picture of unfettered youth. If you’re Ilana Glazer, if you played the less responsible of the Broad City broads, and had the audacity to grow up, get married, and have a kid, your fans may demand an explanation.
Glazer’s comedy special, Human Magic, filmed at the Elgin and Winter Garden Theatre in Toronto last May and released for streaming in the final days of 2024 (on Hulu in the U.S. but via the adult side of Disney Plus in Canada) , brings the fans up to speed. It reconciles the filthy-mind-possessing Ilana Wexler alter ego from Broad City with the grown-up, responsible, professionally accomplished Ilana Glazer before us today. It is also an attempt at making a 2010s… vibe? ethos? relevant to the 2020s.
Human Magic is the 2020s’ answer to Baby Cobra, which may be where things go awry. It’s no longer groundbreaking to be a pregnant woman or new mom who (glances around anxiously) does sex stuff. It is maybe slightly edgy to admit to being a mom who consumeth the marijuana, as Glazer does, as is central to her personal brand, but stonerdom itself isn’t the rebellion it once was, not with legal dispensaries surrounding the theatre she’s performing at on Yonge Street—to say nothing of the rest of North America—not with all the much-publicized research about alcohol as a carcinogen, making Team Weed seem as if they had the right idea all along.
That’s not to say there isn’t a twist. The twist is that Glazer is not like those other women who love their husbands and have babies with them and enjoy cleaning the house and help their inept-shopper husbands buy T-shirts. And I don’t just mean because she’s a famous person.
Glazer now describes herself as a “queer Jewy woman,” but does not elaborate on what sort of queer she—a woman with a husband—identifies as. A non-practising bisexual, one might guess. (Human Magic includes what might be the lewdest-ever way of expressing the fact that the speaker is monogamous, and much of the special is about her sexual history with men, though she does mime a sex act involving another woman, but only—hard to explain—to make a feminist point about microphones being too phallic.) And perhaps that as well, I have no idea.
A glance at Instagram and recent media coverage attests that Glazer uses she/her as well as they/them pronouns, suggesting that this is core to what Glazer’s referring to when speaking of queerness. Per a recent profile in The Independent—which was picked up by other clickbait headline outlets like it was still 2014—having a baby paradoxically tapped her into her own gender multitude (as versus the boring thing where it reminds you just how female you are), and today, “she identifies as a non-binary woman.”
“Broad City” star Ilana Glazer has opened up about their pregnancy, saying that the experience helped them realize that they are nonbinary. https://t.co/Q6bR2wkCfJ
— Them (@them) August 12, 2024
If this has you wondering who among us identifies as a binary woman, you are not alone. If you’re not wondering this, you are mad at me for having done so. Those are, you see, the only options.
But the interview got picked up, as they will, and held up as evidence that a beloved celebrity had Come Out As Queer. Fine, an assigned-female-at-birth, feminine-presenting, husband-having one, but why should any of that matter? It’s a big tent! Vogue publisher Condé Nast’s gender-celebrity website Them celebrated this revelation-of-sorts as follows: “We love a subtle nonbinary slay, especially when it comes from none other than Ilana Glazer.”
The subtlety is undeniable. Blink and you’d miss it.
***
You can never know, when talking about another person, what’s a tentative first step on a journey, and what’s a gesture taken on for symbolic reasons. It’s entirely possible that tomorrow, Glazer will announce exclusively they/them—or he/they, or he/him—pronouns, and whichever material transitioning in whichever direction, and I will feel like a terrible person for having even fleetingly interpreted this as a case of a functionally if not technically straight lady presenting herself as more interesting (or oppressed) than she is.
It is also possible that I will wake up tomorrow with the politics and inclinations of someone born a micro-era later than I was (Glazer was born in 1987, whereas I’m an ancient ’83er, and this seems a critical difference for this sort of thing) and be putting she/they into my bios and—despite nothing substantively changing about me or how I live my life—everyone will have to walk on eggshells when discussing me and my bog-standard hetero household.
Everyone apart from the right-wing rabble-rousers, who take a different tack. Well those, and people who from-the-left critique such things, often with the derisive term, spicy straights.
My commitment to the she/her (or, more precisely, to not stating my pronouns and letting others come to the likeliest conclusion) is more a matter of generation or sensibilities than place on any gender spectrum. I have no reason to believe I am more comfortable in my femininity, or however you want to phrase such things, than Glazer is in hers. My hunch here—and it can only be a hunch, I’m not in her brain—is that we have different frameworks for understanding the same kinds of experiences.
Why, then, am I walking on eggshells talking about this? Why am I questioning my choice to use she/her for Glazer, wondering at 9:15 p.m. whether the Wikipedia entry’s use of they/them (which it notes is for consistency, just to pick something) ought to have trumped the Independent profile’s she/her? If I had reason to believe Glazer consistently preferred they/them, I would use they/them, I have no whole thing about this, and believe in using the pronouns people request. Why do I feel like a bad guy here?
My jumpiness isn’t much of a mystery, though. It’s because I’m a repeat visitor to rodeos of this nature. There’s a subset of people who will be next-level furious at me for what they will call erasure, gatekeeping, transphobia. All this because of what is essentially a semantic difference of approach between two people whose lives are—apart from one of them being a famous person who helped create the brilliance that is Broad City—remarkably alike.
Who cares, and more to the point, what does any of this have to do with Human Magic?
The subtext of Human Magic is that Glazer is not just some straight-lady comic offering up relatable anecdotes. She’s someone you’d least expect to be leading such a conventional life. And she describes it all in this cool-kid tone that makes you almost forget that the things she’s talking about (loving your baby, enjoying sex with your husband) are, well, square.
***
I am not an Ilana Glazer-ologist, which is to say, my interest is the persona, not the person. And the persona she presents in Human Magic is no more or less conventionally feminine than the typical straight woman. It is not just the gushing about the husband (more on that in a moment), but visible to anyone with any familiarity with gendered self-presentation in our society. She’s dressed in a black, off-the-shoulder minidress or shirt-and-miniskirt (mini-skort?) combo, with black stockings, a chic necklace, and gorgeous shimmery eyeshadow.
Now someone could be as described and use any pronouns. But the overall effect—combined with Glazer’s own references to herself as a woman and “mom” throughout the special—suggests that one would not be misgendering Glazer to call her a woman. She calls herself a woman! (Why am I walking on eggshells?) And unlike her Broad City co-creator and co-star, who is married to another woman, Glazer is what one might call straight-passing. (A wife, if you’re a woman, is a dead giveaway about the not-straight thing.)
What I keep returning to is the T-shirt interlude. In this part of Human Magic, Glazer pokes gentle fun at her husband for his inability to buy his own clothes. She has to show him the websites and tell him what size he wears. Men!
This is standard stand-up fare. The bumbling husband, flummoxed by a domestic task, or maybe he deems it too trivial. There’s also something mildly absurd about how specifically I related to this (the scientist husband, those exact T-shirt websites). Queer Jewy women, straight Jewy women, not so different after all!.
Glazer is nothing if not a member of her moment. She admits that she’s married, but encourages applause for the divorcees in the audience at the start of the show, calling herself a “divorce enthusiast.” She performs—literally, she is on a stage—the requisite feminist ambivalence of being in an opposite-sex relationship. “I feel so lucky to be married to my husband, but it’s hard at baseline to be a woman married to a man. Cause I see him sometimes as [here she gets dramatically angry] SOME MAN, instead of the person I chose to spend my life with.”
It’s performative misandry, but it’s also heteropessimism—or what would be called that if the person experiencing it identified as heterosexual. Glazer negotiates a squickiness surrounding her quasi-straight-womanhood (straight quasi-womanhood?) by describing herself as pro-guys, anti-men, with a whole routine about the difference between guys and men. Something about guys wearing sweatpants to buy groceries and men wearing jeans to work out in.
The guys-good, men-bad bit is a little funny, maybe? Not earth-shattering. It taps into something in the culture, though. Specifically, to the loophole according to which you’re permitted to be a ban-men feminist and have a male partner, so long as you tell anyone who’ll listen that you’ve found one of the good ones. Where this is meant to leave the women married to less-good ones (are they victims or just bad feminists?) I’m never clear.
***
Human Magic has its moments, in the Baby Cobra mould. Glazer describes a medical exam she had before giving birth as being “fingered” and in a positive sense—something I think I might find unnerving to hear if I were the doctor who’d performed the exam, but it’s a comedy special, maybe this never happened! She recalls the expletives she uttered when in awe of the miracle of having just had her baby. She confesses—in a scandalous tone—that she enjoys performing oral sex. Is the audience meant to be scandalized because sex, or because the sex-haver is a mom, or is it that third thing: that it’s yeah kinda shameful to be into sex with men, if you’re a queer feminist?
Loving your husband, enjoying sex with him, liking that he can carry heavy items (“I’ll tell you one thing daddies can do: carry shit”) not liking that he can’t be bothered to order his own T-shirts, loving your baby, worrying about your baby eating solids and how that’s going, enjoying cleaning your house (this is, Glazer explains, her Shabbat ritual), these are all things that put Glazer in community with the wide world of basic straight ladies. (I detest cleaning my house, which puts me where on the gender spectrum?) She presents her preferences for ordinary things as shocking revelations—the subtext being, can you believe someone like ME is into this stuff?
The more I think of it, the stranger it all seems. Annoying, but also kind of brilliant? There’s a part about how the first time she had fully unprotected intercourse was when trying for a baby. She describes this entirely banal fact of how one plans a pregnancy in extremely funny terms that sound both erotic and sordid.
What Glazer does—and what puts her in the spirit of Ali Wong—is remind that getting older, moving through the various life stages, does not magically remove women’s humanness. (Human Magic the title refers to reproduction, but could as easily refer to what’s imagined happens to women when no longer 22 and carefree.) Human Magic reminds that mothers are also women, that women are also people. Not just as in, people deserving of human rights, but people whose minds go to places that our culture ascribes to teenage boys.
The breakthrough of Broad City was showing that what’s thought of as teenage-boy-ness exists in young women as well. Human Magic extends the privilege to slightly older women. In a way.
***
Is the special not that funny because it’s too sanctimonious? After all, Glazer is an outspoken progressive, Broad City had a Hillary Clinton cameo in 2016 (whole lot of good that did, but I digress), and is a supporter of the Palestinian cause.
But we are not in the realm of humourless scolding a la Hannah Gadsby’s 2018 anti-comedy comedy special, Nanette. Glazer’s comic timing is still there, her exaggerated expressions, and if some of her qualities that were charming on Broad City now inspire a bit of, you do realize you’re borderline middle-aged now yes?, like when she refers to her toddler as “dawg,” it is clear she does in fact realize this, and is in on the joke.
Glazer comes across as aware she’s known for having righteous left-wing politics, and uses this as a way of offering unexpected twists. She talks about how dreadful it was, developing breasts early—“shtetl titties,” she calls them—and being sexualized from a young age. She then pivots to how, in her 30s, she’s no longer gently patted in public spaces and how she misses this. That’s it, that’s the joke.
Then there’s the interlude where Glazer admonishes mainstream (non-feminist) pornography for its emphasis on incest. She digresses a bit and you think she’s about to condemn the 1995 movie Clueless for its step-sibling romance. Really, you think, she’s out here cancelling Clueless? Instead she mimes her then-pubescent self let us say really enjoying the film—and in doing so, going somewhere far franker than Clueless itself ever did.
I suppose a part of me reacted to the knowledge that Glazer doesn’t fully identify as a woman the way I would have had I learned that she no longer considered herself Jewish. (Note: she absolutely does consider herself Jewish; it’s an analogy.) Broad City was such a triumph of Jewish female representation that maybe I am, on some level, unjustly attached to the idea of its creators as female and as Jews.
The CJN’s opinion editor Phoebe Maltz Bovy can be reached at pbovy@thecjn.ca, not to mention @phoebebovy on Bluesky, and @bovymaltz on X. She is also on The CJN’s weekly podcast Bonjour Chai. For more opinions about Jewish culture wars, subscribe to the free Bonjour Chai newsletter on Substack.
The post Glazed over: 2010s vibes abound in Ilana Glazer’s made-in-Toronto comedy special ‘Human Magic’ appeared first on The Canadian Jewish News.
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Anti-Israel Rioters Attack Israeli Cruise Ship, Prevent Tourists From Disembarking in Greece
Greek riot police clash with pro-Palestinian protesters near the port of Rhodes during a demonstration targeting an Israeli cruise ship. Photo: Screenshot
Anti-Israel rioters on the Greek island of Crete have attacked an Israeli cruise ship, preventing tourists from disembarking in the latest incident targeting Israeli visitors in Greece.
The MS Crown Iris — operated by Israeli cruise line Mano Maritime — was targeted once again by pro-Palestinian activists this week.
On Thursday, Israeli tourists were physically assaulted and temporarily blocked from disembarking in Crete by about 25 protesters gathered at the island’s main port to demonstrate against the war in Gaza.
The rioters, waving Palestinian flags and holding banners falsely accusing Israel of genocide, clashed violently with police who were trying to secure a safe passage for the Israeli tourists.
As Israeli tourists tried to disembark, they were attacked by the demonstrators, who threw rocks and metal bars, forcing many to retreat back onto the ship.
After those who first tried to leave the ship were physically assaulted, police advised everyone to return onboard, as protesters appeared to be blocking all exits from the port.
The port then closed its gates, and all passengers returned to the ship while authorities worked to regain control of the situation.
Greek riot police intervened, using pepper spray to disperse the crowd and detaining four protesters, but some passengers were still injured during the incident.
This latest attack marks the third incident in a month in which anti-Israel protesters have targeted Israeli tourists and attempted to boycott the Mano Maritime cruise line.
Greece’s Minister of Citizen Protection, Michalis Chrysochoidis, condemned these targeted attacks, vowing that anyone who tries to prevent a foreign national from legally entering the country will “face prosecution, arrest, and then criminal proceedings under the anti-racism law.”
Las month, approximately 1,600 Israeli passengers expecting a peaceful stop on their cruise were unable to disembark from a ship docked on the island of Syros after a pro-Palestinian protest erupted at the port, raising safety concerns.
Around 300 demonstrators had gathered at the dock to protest against the war in Gaza, while Syros Port Authority police guarded the area and intervened to prevent violence until the ship departed.
Amid the large anti-Israel protest, the cruise company chose to divert the ship to Limassol, Cyprus.
In videos circulating on social media, protesters were seen waving Palestinian flags and holding banners with slogans such as “Stop the Genocide” and “No AC [Air Conditioning] in Hell,” while chanting antisemitic slogans.
In a similar incident, pro-Palestinian protesters clashed with Greek riot police on the island of Rhodes as they attempted to block a Mano Maritime cruise ship from docking at the island’s main port.
More than 600 passengers were set to disembark when tensions escalated and brief clashes broke out as authorities worked to control the protest.
According to videos circulating on social media, riot police can be seen confronting a group of pro-Palestinian protesters gathered near the dock, who shouted slogans such as “Freedom for Palestine.”
Since the Hamas-led invasion of and massacre across southern Israel on Oct. 7, 2023, antisemitic incidents have surged to alarming levels across Europe.
These incidents appear to be the latest in an increasing wave of anti-Jewish hate crimes that Greece and other countries have experienced in recent months.
On Friday, a group of Israeli tourists from London were thrown out of a Greek taverna and called “baby killers” after a dispute with the pro-Palestinian restaurant owner.
Last month in Athens, a group of pro-Palestinian activists vandalized an Israeli restaurant, shouting antisemitic slurs and spray-painting graffiti with slogans such as “No Zionist is safe here.”
The attackers also posted a sign on one of the restaurant’s windows that read, “All IDF soldiers are war criminals — we don’t want you here,” referring to the Israel Defense Forces.
In June, an Israeli tourist was attacked by a group of anti-Israel activists after they overheard him using Google Maps in Hebrew while navigating through Athens.
When the attackers realized the victim was speaking Hebrew, they began physically assaulting him while shouting antisemitic slurs.
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‘Nothing Less’: Trump Presses for $500 Million Settlement With Harvard University
US President Donald Trump gestures during a cabinet meeting at the White House in Washington, DC, US, Aug. 26, 2025. Photo: Jonathan Ernst via Reuters Connect
US President Donald Trump has said that Harvard University must pay a minimum $500 million penalty as part of a settlement to restore $3 billion in federal contracts and research grants his administration impounded from the school’s coffers earlier this year.
Trump insisted on “nothing less” in remarks to Education Secretary Linda McMahon during a cabinet meeting held on Tuesday. “They’ve been very bad. Don’t negotiate,” he added.
The comments came just two and a half months after McMahon, representing the Trump administration, hinted at the possibility of reaching a deal with Harvard and unfreezing the federal funds. Speaking to Bloomberg, the education secretary said that Harvard was “making progress” and “already put in place some of the things that we have talked about in our negotiations with Columbia” University, which included some wish-list reforms for which conservatives have spent decades advocating.
At the time, Harvard had filed suit against the administration, seeking a summary judgement which ruled that the funds confiscation was arbitrary and skipped key steps the government must take before taking such an action. The New York Times reported that Harvard expressed interest in paying $500 million to settle the matter, and university officials had begun dismantling initiatives and making other changes to reverse an impression that the institution is doctrinally far left and anti-Zionist.
In July, it announced new partnerships with Israeli academic institutions and shuttered its diversity, equity, and inclusion (DEI) offices, transferring their staff to other sections of the university. These moves came after it “paused” a partnership in March with a higher education institution located in the West Bank. Some reports, according to the Harvard Crimson, even suggested that Harvard is willing to found a “new conservative research institute.”
However, Harvard university’s president, Alan Garber, deluged by inquiries from Harvard faculty outraged at the prospect of settling with the Trump administration, later proclaimed that the Times had reported fake news and that he intended to continue on fighting the government in court.
“In a conversation with one faculty member, [he] said that the suggestion that Harvard was open to paying $500 million is ‘false’ and claimed that the figure was apparently leaked to the press by White House officials,” the Harvard Crimson reported, noting that the Times had defended the veracity of its report. “In any discussions, Garber reportedly said, the university is treating academic freedom as nonnegotiable.”
The conflicting headlines highlighted the competing objectives Garber is being forced to choose between — rescuing Harvard from a perilous fiscal situation or placating its left-leaning faculty, 94 percent of whom donated to Democratic candidates in 2024, as reported by the Crimson.
In July, a Crimson poll of over 1,400 Harvard faculty revealed that 71 percent of arts and sciences faculty oppose negotiating a settlement with the administration and 64 percent “strongly disagree” with shuttering DEI programs. Additionally, 73 percent oppose rejecting foreign applicants who hold anti-American beliefs which are “hostile to the American values and institutions inscribed in the US Constitution and Declaration of Independence,” and 70 percent strongly disagree with revoking institutional recognition from pro-Hamas groups such as the Palestine Solidarity Committee (PSC).
“More than 98 percent of faculty who responded to the survey supported the university’s decision to sue the White House,” The Crimson reported. “The same percentage backed Harvard’s public rejection of the sweeping conditions that the administration set for maintaining the funds — terms that included external audits of Harvard’s hiring practices and the disciplining of student protesters.”
At the same time, Harvard will see annual budget shortfalls of $1 billion if the if the Trump confiscations remain in effect, according to the Wall Street Journal, a loss the university is offsetting by enacting “contingency preparations” predicated on amassing $1 billion in debt with help from Goldman Sachs and Morgan Stanley. Analysts have told The Algemeiner that Harvard’s immense wealth, powered by a $53 billion endowment valued higher than the gross domestic product of countries such the Kingdom of Bahrain and Bolivia, can sustain its borrowing in the short term but not in perpetuity.
“If Harvard is willing to mortgage its real estate or use it as collateral, it can borrow money for a very long time,” National Association of Scholars president Peter Wood told The Algemeiner in April. “But it could destroy itself that way.”
On Friday, Asaf Romirowsky, a Middle East expert and president of Scholars for Peace in the Middle East (SPME), said Harvard should make a deal, arguing that would be in the interest of both the school and the country.
“Universities have begun to rapidly adapt to the new realities. One change being made by universities is increased hiring of Title VI coordinators to handle civil rights complaints,” he said. “Beyond the cosmetic, the US desperately needs to reevaluate what a university is and what it is for. Five decades of universities striving for relevance has had the effect of politicizing the humanities and social sciences.”
He continued, “As faculties have become politically monolithic, students interested in exploring traditions and themselves have been alienated, causing a feedback loop of shrinking disciplines and intensifying politics.”
Follow Dion J. Pierre @DionJPierre.
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Brad Pitt, Joaquin Phoenix, Rooney Mara, and Others Join Gaza Film as Executive Producers Before Venice Premiere
Brad Pitt attends the “F1: The Movie” European premiere in London, Britain, June 23, 2025. Photo: REUTERS/Maja Smiejkowska
Brad Pitt, Joaquin Phoenix, Rooney Mara, and other high-profile figures in the Hollywood film industry have joined the Gaza-based drama “The Voice of Hind Rajab” as executive producers ahead of its world premiere at the 82nd Venice International Film Festival, Deadline reported.
“The Zone of Interest” director Jonathan Glazer is also joining the film as an executive producer as well as “Roma” director Alfonso Cuaron. Meanwhile, Dede Garner and Jeremy Kleiner from Pitt’s production company Plan B. Britain’s Film4 and the Saudi Arabian state-owned MBC Studio are also supporting the film, according to Deadline.
Written and directed by Tunisian filmmaker Kaouther Ben Hania, “The Voice of Hind Rajab” focuses on the real-life death of six-year-old Palestinian girl Hind Rajab, who was trapped in a car that had allegedly come under fire by Israeli military forces in the Gaza Strip in January 2024 and later found dead. Israel claimed its military troops were not in the area at the time. The movie is based on real audio recordings of Rajab’s calls to Red Cresent volunteers, who tried to keep her on the line and get an ambulance to help her. Her death sparked global outrage including at Columbia University, where anti-Israel students broke into the academic building Hamilton Hall and symbolically renamed it as Hind’s Hall in April 2024.
“The Voice of Hind Rajab” will premiere at the Venice Film Festival on Sept. 3 before making its North American premiere at the Toronto International Film Festival.
“I cannot accept a world where a child calls for help and no one comes,” Ben Hania said in a released statement. “That pain, that failure, belongs to all of us. This story is not just about Gaza. It speaks to a universal grief. And I believe that fiction (especially when it draws from verified, painful, real events) is cinema’s most powerful tool. More powerful than the noise of breaking news or the forgetfulness of scrolling. Cinema can preserve a memory … May Hind Rajab’s voice be heard.”
Ben Hania’s film “Four Daughters” was nominated for an Oscar last year and her previous project, “The Man Who Sold His Skin,” was selected as the Tunisian entry for best international feature film at the Academy Awards in 2021.
The 82nd Venice Film Festival opened on Wednesday, almost six weeks to the second anniversary of the Hamas-led terrorist attacks in southern Israel on Oct. 7 2023, that resulted in the murder of 1,200 people while 251 were taken as hostages back to Gaza. The festival ends Sept. 6.
Hundreds of Italian and international artists signed an open letter calling on the Venice Film Festival to condemn what they claim is Israel’s genocide and ethnic cleansing in Gaza. Israel has adamantly denied the charge, noting it’s targeting a terrorist group in Gaza that tries to embed itself among the civilian population to create more casualties.