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In Jerusalem neighborhoods bound together by terror, anger and trepidation about what comes next
JERUSALEM (JTA) — Time stops on Shabbat in Jerusalem, for the living and the dead.
Up the stairs in an apartment on the main road in the Neve Yaakov neighborhood in the city’s northeast, past hallway portraits of Sephardic rabbis, the Mizrahi family was not taking visitors on Saturday. “This is not the right time,” a woman who opened the apartment door said.
A Palestinian gunman gunned down Eli and Natali Mizrahi on Friday night. Now the couple was in a morgue awaiting burial. There are no Jewish funerals on Shabbat. They would be buried after nightfall.
The gunman killed seven people Friday night, in the worst terrorist attack in Jerusalem in over a decade.
A day earlier, Israeli troops killed nine people, including two civilians, in a raid in the northern West Bank city of Jenin that Israeli officials said was aimed at preempting a major terrorist attack; a 10th died later. A day later, a 13-year-old Palestinian shot and wounded an Israeli father and son outside Jerusalem’s Old City walls amid a scattering of further incidents.
Jerusalem, the country, the region are on edge. Prime Minister Benjamin Netanyahu announced new measures aimed at curbing the violence, targeting families of terrorists. Police arrested 42 people in connection with the Neve Yaakov attack. Bill Burns, the CIA boss, is on his way to Israel to consult with Netanyahu about how to keep the region from blowing up.
On Friday night, around 8 p.m., in the middle of the Sabbath evening meal, Eli Mizrahi, 48, ran downstairs as soon as he heard the gunfire. His father, Shimon, asked him not to go, the Times of Israel reported. Eli’s wife of two years, Natali, 45, followed her husband.
Eli Mizrahi spoke to the gunman, who shot him and Natali dead.
On Saturday, Neve Yaakov residents stood in groups on the street in the long shadows cast by the winter sun, gossiping, trying to piece together details from second hand reports; Shabbat forbade them from turning on the radio or TV or checking their phones.
“We sat here in the living room and suddenly I heard shooting,” said Sara Gablayev, 76, who lives on the ground floor, below the Mizrahis. “I ran to the window and saw two people falling. Then I saw some running and I shouted, ‘What happened?’ He said two more people were killed down the street.”
Family and friends of Eli and Natali Mizrahi, who were killed in a shooting attack in Jerusalem, mourn during their funeral in Bet Shemesh, jan. 28, 2023. (Amir Levy/Getty Images)
It was Friday evening, as Shabbat services were ending. Kheiri Al-Qam, 21, drove his car down Neve Yaakov Boulevard, shooting civilians, seemingly aiming at whomever he could reach.
He murdered the Mizrahis. He murdered Rafael Ben Eliahu, 56, who worked for the post office, and who left a widow and three children. He murdered Asher Natan, who was 14. He murdered Shaul Hai, 68, a sexton at one synagogue who was entering another to attend a Torah lesson. He murdered Irina Korlova, a Ukrainian caregiving worker. He murdered Ilya Sosansky, 26.
“The terrorist killed three people at the entrance to the synagogue and left three others with various injuries,” said Chanoch Reem, a volunteer first responder with United Hatzalah who lives next to the synagogue Hai was entering and who rushed to the scene when he heard the commotion. “He then drove away while continuing to shoot passersby.”
In a release, United Hatzalah quoted another of its first responders, Yosef Deshet, who was in the synagogue when Al-Qam opened fire. “When I heard the gunshots begin I took cover on the floor under a table with my son,” he said. “Immediately after the shooting ended, I ran to my house nearby to bring my son back to safety and to grab my medical trauma kit and bulletproof vest.”
Al-Qam drove his car to a junction that connects roads to Neve Yaakov and Bet Hanina, a Palestinian neighborhood. There, he exchanged fire with Israeli troops, and was killed.
On Saturday, in Ras al-Amud, an eastern Jerusalem neighborhood seven miles south of Neve Yaakov, Israeli troops surrounded the six-story building where Al-Qam lived with his extended family. Before dawn, troops bound men and boys to one another by the wrists and led them out. Neighborhood Palestinian youths grouped together on a nearby stairway watched the soldiers.
One of the young Palestinian men watching the troops said they were in wait-and-see mode.
“Maybe they’ll demolish the house. Maybe it will be a surprise,” he said. “It’s a crazy government now. Any decision is possible.”
Netanyahu’s government, just weeks old, is the most right-wing in Israel’s history. His public security minister, Itamar Ben-Gvir, was weaned on the teachings of Meir Kahane, the racist rabbi assassinated in 1990, and has called for loosening rules of engagement with the Palestinians.
Ben-Gvir the lawyer represented Jewish Israelis who were accused of violence against Palestinians. In a detail that underscored the entwined fates of the two neighborhoods, one of those whose innocence he helped obtain was Haim Perlman, arrested in 2010 on suspicion of having murdered another Kheiri Al-Qam — the Neve Yaakov attacker’s grandfather. Perlman was never charged.
Ben-Gvir the provocateur with a criminal record made his name acts aimed at forcing the government rightward, accusing it of weakness. On Friday night Ben-Gvir the government minister traveled to Neve Yaakov, and now the anger, the pushback, the pleas to do something, anything were aimed at him.
Israeli security and emergency forces at the scene of a shooting attack in Neve Yaakov, Jerusalem, Jan. 27, 2023. (Olivier Fitoussi/Flash90)
“It’s on your watch!” said one man, caught on video shouting at Ben-Gvir. “Let’s see what you do now!”
The next day, Saturday, the residents chattered with one another on Neve Yaakov Boulevard trying to make sense of the night before. Neve Yaakov, a neighborhood built after Israel captured eastern Jerusalem in the 1967 Six-Day War, is surrounded by Palestinian neighborhoods and the separation wall between Jerusalem looms near.
“We live down the street so we don’t know what happened,” said Miriam Reuven, who was standing on a traffic island with her three granddaughters. “We came to get more information. I don’t feel safe here anymore.”
Some residents shooed away reporters: It was Shabbat, after all. Shimon Yisrael sought them out. He was showing a French camera crew the bullet in his ground-floor window.
“He came with a pistol to my face,” he said of Al-Qam. “I was outside, he wanted to shoot me and I went into the house and he shot at the window. He wanted to kill me.”
He knows what to do with Al-Qam’s family, which is likely to receive benefits that the Palestinian Authority gives to the families of Palestinians killed or imprisoned over their role in attacking Israelis. “Destroy their house,” Yisrael said. “Deport the whole family to Syria, to ISIS, they’ll slaughter them over there.”
In Ras Al Amud, the youths outside Al-Qam’s building said his father, Musa, is at prayers at a mosque a few doors down.
At the mosque, men were gathered in a courtyard, drinking the bitter coffee typically served at funerals. Except there is no funeral. Israeli authorities are holding Khairi Al-Qam’s body.
Musa Al-Qam whose son, Khairi, murdered seven Israelis and was killed, mourns in a mosque in Jerusalem, Jan. 28, 2023. (Orly Halpern)
Musa Al-Qam came out of the mosque to meet a reporter in the courtyard. His voice was toneless.
“Today is a wedding. It’s a celebration,” he said of his son’s death. “We don’t need to cry. Everything that happens is from God.”
Men hugged him. He stiffened.
His hands are calloused. He explained that he has worked for years in construction. He has eight children, four boys and four girls. The youngest are twins, he said, and for the first time, he smiled.
“The soldiers told me my son is a fighter,” he said. “My son is not from any movement. I don’t know what happened to his mind. The occupation kills boys before they are men.”
A few hours later, Netanyahu’s office issued a release: The security cabinet had ordered his apartment building sealed ahead of its destruction.
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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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US soldier who protected Jews in POW camp during WWII to be awarded Medal of Honor
(JTA) — An American soldier who is credited with saving the lives of 200 Jewish comrades in a prisoner of war camp in Germany during World War II will receive the U.S. military’s highest decoration, the Medal of Honor.
The award to Roddie Edmonds, who died in 1985, was announced last week. It comes more than a decade after Israel’s Holocaust memorial, Yad Vashem, recognized him as a “Righteous Among the Nations” for his bravery and six years after President Donald Trump recounted his heroism during a Veterans Day parade.
Edmonds, a sergeant from Knoxville, Tennessee, was the highest-ranking soldier among a group taken prisoner during the Battle of the Bulge in January 2045 when the Nazis asked him to identify the Jews in the group. Understanding that anyone he identified would likely be killed, Edmonds made the decision to have all of the soldiers present themselves as Jews.
When a Nazi challenged him, he famously proclaimed: “We are all Jews here!”
The show of solidarity came to light only after Edmonds’ death, when a Jewish man who had been among the soldiers at the camp shared his recollection with the New York Times as part of an unrelated 2008 story about his decision to sell a New York City townhouse to Richard Nixon when Nixon was having trouble buying an apartment following his resignation as president.
When they found the article several years later, it was the first that Edmonds’ family, including his pastor son Christ Edmonds and his granddaughters, had heard about the incident. Soon they were traveling to Washington, D.C., and Israel for ceremonies honoring Edmonds, one of only five Americans to be credited as Righteous Among the Nations, an honor bestowed by Israel on non-Jews who aided Jews during the Holocaust.
As the family campaigned for a Medal of Honor, Edmonds was also the recipient of bipartisan praise from two American presidents.
“I cannot imagine a greater expression of Christianity than to say, I, too, am a Jew,” President Barack Obama said during remarks at the Israeli embassy in Washington, D.C., on International Holocaust Remembrance Day in 2016.
Three years later, President Donald Trump recounted the story at the New York City Veterans Day Parade. “That’s something,” he said. “Master Sergeant Edmonds saved 200 Jewish-Americans — soldiers that day.”
Last week, Trump called Chris Edmonds to invite him to the White House to receive the Medal of Honor on his father’s behalf, Chris Edmonds told local news outlets. The Medal of Honor ceremony is scheduled for March 2.
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