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Spielberg’s ‘Fabelmans’ earns 7 Oscar nods, WWII epic with anti-Nazi past gets 9
(JTA) – “The Fabelmans,” Steven Spielberg’s autobiographical drama about his Jewish upbringing, had an expected strong haul of Oscar nominations, picking up seven nods Tuesday morning.
A remake of a movie once targeted by the Nazis, a blockbuster embroiled in a lawsuit with an Israeli family and a documentary by the program director of the San Francisco Jewish Film Festival also got recognized in a list jam-packed with Jewish characters, stories and artists.
Spielberg’s movie overcame an anemic box office showing to score nominations in the major categories of best picture, director and screenplay, for Spielberg and celebrated Jewish playwright and screenwriter Tony Kushner. The directing nomination brings Spielberg’s total nominations in the category to nine, tying him with Martin Scorsese for the second-most directing nominations in Oscar history.
The film also scored acting nods for Judd Hirsch, who is Jewish, and Michelle Williams, who recently said she is planning to raise her two children with Judaism.
“The Fabelmans” was the best picture nominee with the strongest Jewish themes, but it wasn’t the only one. The psychological drama “Tár,” starring Cate Blanchett as a problematic conductor, picked up six nominations, including for picture, actress and director; the film weaves Jewish mysticism into its storytelling.
“All Quiet On The Western Front,” Netflix’s new German-language adaptation of the classic 1929 novel about the horrors experienced by German soldiers during World War I, was also nominated for nine Oscars, including best picture, international feature and adapted screenplay. The film’s source material was once banned and burned by the ascending Nazi Party, which believed its anti-war stance made the German military look weak and constituted a threat to their plans for world domination.
When the book’s initial 1930 film adaptation, directed by Jewish filmmaker Lewis Milestone, was released in Germany, Nazis led by Joseph Goebbels set off stink bombs, released mice into the theaters and called the movie a “Judenfilm” (or “Jewish film”). Germany and Austria banned the film from being shown in their countries, and the public censorship campaign led the novel’s author, Erich Maria Remarque, to renounce his German citizenship (Nazis were erroneously labeling him as a Jew).
In response, Jewish studio head Carl Laemmle Sr., agreed to heavily edit the movie and remove material deemed objectionable to the Nazis in order to improve its commercial prospects in Germany. One possible silver lining for the remake’s producers: The 1930 film went on to win best picture that year.
Tom Cruise at a “Top Gun: Maverick” premier at Leicester Square in London, May 19, 2022. (Neil Mockford/FilmMagic via Getty Images)
Back to this year’s Oscars: “Top Gun: Maverick,” the action blockbuster sequel, picked up four nominations, including for best picture. The film’s distributor, Paramount, is currently embroiled in a copyright lawsuit with the family of Israeli journalist Ehud Yonay, whose magazine article about a Navy fighter pilot school was the basis for the original “Top Gun” in 1986. In November, a judge dismissed Paramount’s attempts to throw out the suit and ruled the Yonay family could proceed with their claims.
The writer, director and actress Sarah Polley also scored a nomination for best adapted screenplay for her drama “Women Talking,” about a group of abused women in an isolated Mennonite community, which was also nominated for best picture. Polley has a Jewish biological father, whose secret parentage she explored in her 2013 documentary “Stories We Tell.”
The Jewish film producer Gail Berman also scored her first Oscar nomination for producing best picture nominee “Elvis,” while Jewish producing partners Darren Aronofsky and Ari Handel scored their own best picture nomination for “The Whale.” The movie, which Aronofsky directed, stars Brendan Fraser (also nominated) as a morbidly obese English professor.
In the performing categories, one actor was nominated for playing a real-life Jewish convert: Ana de Armas received a best actress nomination for her portrayal of Marilyn Monroe in Netflix’s “Blonde.” Monroe converted to Judaism in the 1950s and remained devoted to the religion even after divorcing her husband, Jewish playwright Arthur Miller.
Also, veteran actress Jamie Lee Curtis — whose father, Golden Age Hollywood actor Tony Curtis, was Jewish — picked up her first-ever Oscar nomination for her supporting role as a sinister tax officer in the multiverse sci-fi comedy “Everything Everywhere All At Once.”
Curtis is nominated in the category alongside her co-star Stephanie Hsu, who is also known to fans of the very Jewish TV series “The Marvelous Mrs. Maisel” as Mei Lin, a Chinese restaurant owner who gets together with co-lead Joel Maisel. Early buzz on the upcoming fifth season of “Maisel” says that Hsu’s character will convert to Judaism.
Another “Everything Everywhere” co-star, Jewish actress Jenny Slate, helped a different film score an Oscar nomination in the best animated feature category: the stop-motion mockumentary “Marcel The Shell With Shoes On.” Slate co-wrote the feature with her ex-husband Dean Fleischer-Camp, who directs; Slate also voices the lead role of Marcel. However, she is not one of the nominated producers on the film.
“All The Beauty And The Bloodshed,” a portrait of the outsider artist Nan Goldin and her years-long activism campaign against opioid manufacturers the Sackler family, was nominated in the best documentary feature category and is favored to win. The film documents how Goldin was born to Jewish parents but had an emotionally abusive family life and left home in her teens. The Sacklers are also Jewish.
The documentary short category saw the second nomination in a row for Jewish filmmaker Jay Rosenblatt, whose documentary “How Do You Measure A Year” chronicles many years of his daughter Ella’s birthdays. Rosenblatt is the program director of the San Francisco Jewish Film Festival.
Veteran Polish filmmaker Jerzy Skolimowski was also nominated in the international feature category for his drama “EO,” told from the perspective of a donkey. Skolimowski’s father was a member of the Polish Resistance and his mother hid a Jewish family in their house during World War II.
Jewish composer Justin Hurwitz, who won an Oscar for his work on “La La Land,” was nominated again for the score for “Babylon,” a follow-up production with that film’s director, Damien Chazelle.
And in the original song category, Jewish songwriter Diane Warren extended her nomination streak to 14 for the number “Applause,” from the feminist documentary “Tell It Like A Woman.” Warren has never won a competitive Oscar but did receive an honorary Academy Award last year.
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The post Spielberg’s ‘Fabelmans’ earns 7 Oscar nods, WWII epic with anti-Nazi past gets 9 appeared first on Jewish Telegraphic Agency.
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The Sacred Power of Challah Bakes and Why I Keep Doing Them
A loaf of challah being prepared. Photo: Aish.
There I was last week, standing on the rooftop of the AISH Institute for Women’s Education, flour dusting my blue apron, watching dozens of young women with their hands kneading dough. The Jerusalem skyline stretched out behind us like God’s own backdrop for our first-ever challah bake at the new seminary in the heart of the city — an event I’ve dreamed of hosting for so many years.
I’ve often held these events in other locations — what I call my “ABCs of Challah Bakes” tour, from Amsterdam, to Brooklyn, to Cape Town, and everywhere in between.
I’ve literally been flown around the world to knead dough with Jewish women. Sounds crazy, right? But there’s something magical about hosting this on the rooftop of our newly inaugurated seminary with young women who have come from all over the world to study Jewish wisdom together.
Through this Challah bake, we joined tens of thousands of women who were participating in similar events in stadiums, synagogues, and community centers worldwide, each of us elbow-deep in flour. We shared something monumental that brought us together in a way that was both moving and invigorating. The Shabbos Project figured this magic out 12 years ago, and honestly, they struck gold.
Want to know the real secret to challah bakes? They’re the Jewish equivalent of a universal welcome mat. I’ve seen women show up who haven’t set foot in a synagogue in decades or ever. Women who don’t fast on Yom Kippur or attend a Passover seder. Women who would typically run from anything remotely religious. Yet somehow, they come out of the woodwork for challah bakes. It’s mind-blowing! Maybe it’s the smell of fresh bread, maybe it’s the laughter and camaraderie, maybe it’s just the promise of those sweet and sumptuous carbs for the special day of Shabbos, but they come, and that’s what matters.
Since October 7, these events have gained even more momentum. For two years, our hearts broke daily thinking about what’s been happening in Israel and what was transpiring for the hostages in Gaza. I believe it is because of the search for connection that many Jews felt after October 7th, that these challah bake gatherings have morphed into something even more powerful.
Women who felt disconnected were suddenly craving community. The simple act of kneading dough has become this beautiful act of resilience. We’re literally taking flour and water, and a few more basic ingredients, and creating something nourishing when so much around us feels impossibly out of control.
I’ve always been a believer in the spiritual side of challah baking — just ask my family. I’ve been preaching about it for years. But then came Ori Megidish’s story. Her mother baked challah and made a special blessing for her daughter’s safe return on October 27, 2023, while Ori was held hostage by Hamas, praying with every fold of her dough for her daughter’s safe return. Three days later, Ori became the first hostage rescued by the IDF. Social media went wild connecting the dots. It made challah bakes look pretty powerful, and women noticed.
This isn’t superstition, mysticism, or folklore; Jewish tradition actually teaches that the moment when we separate a small piece from our dough is an incredibly auspicious time for prayer. Standing there with dough on your hands, preparing food that will nourish people you love and separating a small piece in compliance with Jewish law, our sages teach, is precisely the moment when heaven’s paying extra close attention to our prayers.
At our rooftop event, we aimed those prayers toward healing, physical, mental, and spiritual, for everyone touched by this horrific conflict in addition to very personal, heartfelt prayers and blessings for two new brides in the group. There were belly laughs and quiet tears, sometimes from the same person within minutes.
These gatherings work because you walk away with something real, actual bread that fills your home with that Friday afternoon (aka “erev shabbos”) smell that takes you right back to your bubby’s kitchen. But you also leave with something you can’t Instagram: new friends, renewed purpose, and this crazy warm feeling that you’re part of something bigger than yourself.
That’s why I’ll keep doing these as long as I possibly can. Like I’ve witnessed at the Suzana and Ivan Kaufman AISH Institute for Women’s Education, I’ve watched shy women who came once reluctantly then return year after year with friends in tow. I’ve seen friendships form across decades and continents.
I’ve witnessed the power of flour and water to heal wounds you can’t see, and in a world desperate for healing, there’s something revolutionary about women performing this ancient ritual together. The challah feeds our bodies; the community and spirituality of the moment feed our souls. As we shape our dough, we’re reshaping our world, one prayer, one loaf, and one gathering at a time.
And who knows? With enough flour, faith, and friendship, we might just heal all that divides us.
Jamie Geller is the Global Spokesperson and Chief Communications Officer for AISH. She is a bestselling cookbook author, Jewish education advocate, and formerly an award-winning producer and marketing executive with HBO, CNN, and Food Network.
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ITV’s ‘Breaking Ranks’: The IDF Soldier Documentary That Broke From the Truth
Then-IDF Chief of Staff Lt. Gen. Herzi Halevi, center, speaking to commanders and soldiers in the Golan Heights on Dec. 13, 2024. Photo: IDF.
A new documentary airing on ITV, Breaking Ranks: Inside Israel’s War, claims to be “the story of the war in Gaza told by the soldiers who fought it.”
An insider account of war sounds promising, especially amid the flood of misinformation online from people who were never on the ground as IDF soldiers and have no experience of the reality of fighting a terrorist organization.
Yet, of all the thousands of soldiers, both in mandatory service and reserve duty, the documentary presents a carefully selected handful of soldiers to tell the story of what they believe really happened in Gaza.
But the story they tell distorts — if not entirely omits — key facts. The film overlooks the reality of what it means to fight a terrorist organization driven by an ideology of extermination, one that deliberately embeds itself among civilians to wage war from within their communities.
That didn’t stop other media outlets from jumping on allegations of war crimes, with outlets such as The Guardian and Independent publishing pieces based on the documentary’s conclusions. That the Tehran Times gleefully pounced on it as well tells a story in itself.
The War Against Hamas
While the film does spend a few minutes showcasing the horrific tragedies of the October 7, 2023, massacre led by Hamas, it quickly shifts its focus to alleged atrocities committed by the IDF in the aftermath.
From the very beginning, the IDF made it explicitly clear that the war was against terrorist organizations only – there was no deliberate targeting of innocent civilians in Gaza. The IDF has maintained this throughout the war, taking every measure possible to warn the civilian population of any potential danger, including sending leaflets before a targeted strike and creating civilian zones to ensure the safety of non-combatants.
The complexity of fighting a terrorist organization is largely overlooked throughout the film. At one point, the use of force in Gaza is called “unprecedented in combat in terms of the number of explosives dropped per square mile,” making it out to be worse than the bombings of Hiroshima and Nagasaki. What it fails to acknowledge is that Israel precisely targets terrorists and terrorist infrastructure.
That viral cartoon comparing Gaza to Hiroshima and London is seriously misleading. Designed to provoke outrage, the reality shows Israel’s precision in targeting terrorists, even in the toughest situations. Context matters. pic.twitter.com/rxvi2YBvl2
— HonestReporting (@HonestReporting) December 14, 2024
Of course, for the documentary to accurately acknowledge the terrorist infrastructure in Gaza, it would have to spend a considerable amount of time discussing the vast tunnel network Hamas has built beneath the entirety of the Gaza Strip. However, this undeniable fact gets quickly glossed over. The filmmakers suggest the tunnels are merely used for “smuggling, warfare, and to avoid Israeli airstrikes.”
This framing subtly shifts blame onto Israel, as if Hamas’s need to “avoid” the Israeli air force is a defensive response rather than a deliberate strategy to wage war from beneath civilian areas. Terrorism? The inhumane holding and torture of hostages in clear violation of every facet of humanitarian law? Entirely unmentioned.
Breaking the Silence
The omission of the true purpose of the tunnels instead becomes spun into a claim based on hearsay that the IDF uses human shields in Gaza. Despite the IDF’s unequivocal denial of such allegations, this assertion is amplified by the interviewees.
However, this should come as no surprise, as one of the interviewees, under the name “Yaakov,” has previously espoused this claim to the New York Times via Breaking the Silence. This highly politicized Israeli organization spends less of its time trying to convince the Israeli public of its case and more on providing the foreign media with fodder to attack Israel.
While the organization seeks to “expose the public to the reality of everyday life in the Occupied Territories,” in reality, it relies on unverified and exaggerated claims provided by IDF soldiers, some of whom receive a paycheck from the organization and therefore may very well have ulterior motives.
“Yaakov” shared photos he took during his time in reserve duty in Gaza, including one now infamous photo that was previously shared in his New York Times article. The photo is said to display civilians who are used as human shields by the IDF when exploring the tunnel network. But the blurry and contextless image offers no evidence whatsoever to support such a serious accusation.
The credits of the documentary give special “thanks” to “Yaakov” from Breaking the Silence, revealing a clear bias in its sources in order to frame a specific narrative about the IDF as a whole. Instead of drawing on a range of credible voices – including a wide array of active-duty soldiers, independent analysts, and military experts – they elevate a figure tied to a controversial advocacy group with a record of misrepresentation.
Amplifying Non-Neutral Voices
“Yaakov” from Breaking the Silence is not the only biased source. Dr. Itamar Mann, a professor of international law at Haifa University, for instance, gives highly critical commentary on the IDF’s actions.
Dr. Mann is listed as an author and legal consultant on a report by Physicians for Human Rights (Israel), claiming there is genocide in Gaza. The organization has been known to spread false, distorted narratives as a way of delegitimizing Israel. In fact, in the immediate aftermath of October 7, the organization stated that it is our “human obligation to contextualize yesterday’s violence.”
The documentary also brings in Amjad al-Shara, the director of the Palestinian NGO Network (PNGO), who refers to the IDF as the “occupation forces,” and is himself described as a “pro-Hamas” figure. PNGO has in the past supported terrorism and hosted conferences or speakers connected to the PFLP.
False Casualty Statistics and Disproved Claims
With the poor sourcing and reliance on problematic organizations, it is no surprise that the documentary also fell into the trap of repeating already thoroughly debunked claims about casualty statistics, genocide, and famine in Gaza.
At one point, the film refers to a previously debunked statistic from a so-called study by The Guardian and +972 Magazine, which claims that 83% of all casualties in Gaza are women and children. This figure is based on data from the Hamas-run Ministry of Health, creating a misleading comparison to the IDF’s confirmed count of 8,900 identified terrorists. By subtracting that number from Hamas’ unverifiable total of 53,000 casualties at the time, these outlets and the documentary falsely present the remaining 83% of casualties as civilians, echoing Hamas propaganda.
Naturally, given the bias of the documentary, the claims of genocide and famine are also leveled against Israel. Even though the definitions of both terms have been distorted in order to accuse Israel of such atrocities, the film presents these allegations as fact, rather than propaganda.
Final Gaza fake “famine” analysis: IPC declared famine on Aug 22. Through ceasefire on Oct 10 there should have been 10,000 starvation deaths. But Hamas/UN counted 192 (most if not all with pre-existing conditions). That’s 98% below famine levels. It was always a hoax. 1/ pic.twitter.com/jWcZOnwdAe
— Aizenberg (@Aizenberg55) October 21, 2025
For a documentary to do its job and remain neutral on such serious allegations, the contrary evidence must be presented, but throughout the documentary, this was deliberately avoided.
War, especially against a terrorist organization that operates using guerrilla tactics, presents immensely challenging scenarios. In the fog of war, mistakes and errors of judgment can and do happen. But it is also true that the IDF has consistently held its soldiers to the highest of standards, investigating any wrongdoing as it occurs.
It would be naive to suggest that every soldier in the IDF or any other comparable army behaves in an exemplary fashion. In September 2024, The New Yorker published a database of what it said is the “largest known collection of investigations of possible war crimes committed [by the US military] in Iraq and Afghanistan since 9/11—nearly eight hundred incidents in all.”
Some of the alleged crimes include “the case of soldiers raping a fourteen-year-old girl and subsequently murdering her and her family; the alleged killing of a man by a Green Beret who cut off his victim’s ear and kept it; and cruelty toward detainees at Abu Ghraib prison and at the Bagram Air Base detention facility.”
All of this is not to claim that the IDF is necessarily more moral than the American military, although there is certainly a good case to be made. The point is that nobody would condemn the entirety of the U.S. Army as an immoral entity that brings shame to its country despite the behavior of a minority of its troops.
And ultimately, ITV’s documentary relies on a tiny number of Israeli soldiers as “eyewitnesses,” most of whom appear to have a political agenda backed by Breaking the Silence.
Rather than offering an honest insight into the complexities of modern warfare against a terrorist organization, the filmmakers chose a simplified, one-sided narrative of Israel’s supposed aggression. In doing so, ITV’s Breaking Ranks fails the very test it set for itself: to tell the story of the war “through the soldiers who fought it.” Instead, it tells a story already written — one shaped by bias, omission, and a refusal to confront the full truth.
The author is a contributor to HonestReporting, a Jerusalem-based media watchdog with a focus on antisemitism and anti-Israel bias — where a version of this article first appeared.
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Musician-ethnographer Michael Alpert to receive Dreaming in Yiddish Award
Michael Alpert, an influential klezmer musician and ethnographer who has played a key role in the global renaissance of Yiddish music and culture, has been selected as this year’s recipient of the prestigious Adrienne Cooper Dreaming in Yiddish Award.
The ceremony will take place at the Dreaming in Yiddish Award Concert during the Yiddish New York festival — the largest annual Yiddish culture festival in the world — in December.
Now in its eleventh year, the hybrid festival brings together a global community for in-person events at Hebrew Union College in downtown New York, as well as online programming via Zoom. The festival includes concerts, workshops, lectures, films, Yiddish classes, dance parties and intergenerational community events.
Adrienne Cooper was a popular Yiddish singer, musician and activist who was integral to the revival of klezmer music. The Dreaming in Yiddish Award supports artists who have contributed to the contemporary Yiddish cultural scene.
Michael Alpert, also known by his Yiddish name Meyshke, received an NEA National Heritage Fellowship — the nation’s highest honor in the traditional and heritage arts — in 2015. He has been a pioneering singer, multi-instrumentalist, ethnographer and educator for over five decades. His award-winning work with ensembles including Brave Old World, Kapelye, Khevrisa and Itzhak Perlman’s In the Fiddler’s House has shaped generations of performers and listeners alike.
A native Yiddish speaker and cultural bridge between East European-born tradition bearers and contemporary artists, Alpert is celebrated both for preserving the roots of Yiddish folk and klezmer music and for composing a new body of Yiddish songs that speak to today’s world.
The Dreaming in Yiddish Award Concert — an evening of music, memories, and celebration — is sponsored by Yiddish New York and GOH Productions. It will take place on Wednesday, Dec. 24, 2025 at 7 p.m. ET at Hebrew Union College and will be livestreamed as well.
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