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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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How Hezbollah Terrorists Became ‘Local Residents’ in the Media
Lebanese army members stand on a military vehicle during a Lebanese army media tour, to review the army’s operations in the southern Litani sector, in Alma Al-Shaab, near the border with Israel, southern Lebanon, Nov. 28, 2025. Photo: REUTERS/Aziz Taher
During an operation earlier this month, the IDF reportedly clashed with Hezbollah operatives and “civilians” in the Lebanese village of Nabi Chit, leaving 41 people dead and another 40 injured.
At least, that is what CNN, the Associated Press (AP), Sky News, BBC, and The Guardian all reported.
But not a single outlet actually questioned who these “civilians” were that clashed with the IDF, or why there were clashes in the first place.
The operation was carried out in an attempt to return the remains of Ron Arad, an Israeli navigator who has been missing since his fighter-bomber was shot down over Lebanon in 1986. He was believed to have originally been captured by the Amal Movement and handed over to Hezbollah, before being presumed dead.
As is the protocol with any missing person or soldier, the State of Israel works to recover every body for a proper and dignified burial in their homeland.
Based on intelligence, the IDF believed Arad’s body to be buried in a cemetery in Nabi Chit, a village located close to the Lebanese-Syrian border in the Beqaa Valley.
IDF special forces initiated a raid into Lebanon in an attempt to recover the remains of Ron Arad, an Israeli airman shot down in 1986.
But it wasn’t only Hezbollah terrorists who engaged in a firefight with IDF soldiers on the ground:
@guardian: Hezbollah “fighters ambushed… pic.twitter.com/wOuWa9AXVj
— HonestReporting (@HonestReporting) March 8, 2026
On Friday, March 6, well before the operation began, the IDF issued an evacuation warning, urging innocent civilians to leave.
The village has long been a stronghold of Hezbollah, with several past leaders, including the second secretary-general, Abbas al-Musawi, born there. Being that Hezbollah has systematically embedded its infrastructure and operatives into the town itself, many — presumably including a significant number affiliated with or supportive of Hezbollah — appeared to defy the evacuation orders, staying in their homes.
Late Friday evening, Israeli commandos entered the village, hoping to quickly locate the body of Arad and leave without disturbance. According to some reports, the IDF forces arrived undercover. Had the IDF been seeking a battle, it would have entered openly rather than disguised, indicating that the goal was a targeted retrieval mission, not a confrontation.
However, soon after the IDF’s arrival, a firefight broke out between Israeli forces and Hezbollah operatives. This is precisely where international media coverage begins — and where the crucial context disappears.
Hezbollah operatives are suddenly grouped in with the “civilians” or “local residents” who supposedly rushed out to defend their homes against an Israeli invasion, leaving their houses with guns to engage in battle with the IDF.
But the IDF had entered the village on a limited mission: to retrieve the remains of a fallen soldier. There was no broader offensive and no threat to civilian homes. That raises a fundamental question: why did so many outlets lead with descriptions of “residents” or “local fighters” joining Hezbollah in “defending their homes,” when their homes were clearly not under threat?
Following the ensuing battle between the IDF commandos and Hezbollah, the Israeli Air Force provided air cover through targeted strikes to ensure the safe extraction of all troops. Sadly, they were unsuccessful in locating the body of Arad.
By the time the operation ended, the Lebanese health ministry reported that 41 people had been killed and 40 wounded. Yet, when reporting these casualties, the media failed to acknowledge the obvious likelihood that many of those casualties were Hezbollah operatives — or what Sky News and AP described as “local fighters.”
The narrative that Israel intentionally killed innocent civilians was not limited to the international media, but quickly spread across social media.
Posts circulating online framed the operation as a reckless mission designed to target civilians with no clearly defined operational purpose. This is despite the IDF’s clear intention to limit civilian harm while preserving the dignity of all Israeli soldiers, no matter how long ago they fell in battle.
Israelis can be weird. They sent special forces into Lebanon to retrieve the remains of a dude who died 40 years ago, and this against the wishes of his widow. They randomly killed scores of civilians in the process and failed to find any bone, and yet they are bragging about it. https://t.co/DzEutjWCpP
— Prof Francois Balloux (@BallouxFrancois) March 8, 2026
Hezbollah’s strategy of embedding its infrastructure and operatives within civilian areas has long blurred the line between civilians and combatants, resulting in armed terrorists who attack Israeli forces being framed in media coverage as innocent “local residents.” The IDF’s operation in Nabi Chit and the ensuing battle illustrate this strategy in full, exposing just how effectively Hezbollah has manipulated the media.
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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In the work of 21 artists, 49 different ways to be Jewish
As I walked through the exhibit, Envisioning the Sacred: Modern Art from the Collection, at the Derfner Judaica Museum and Art Collection, I wondered aloud which was the more defining element in these 20th and 21st century paintings, drawings, prints and linoleum cuts. Was it the modernist sensibility, which encompassed figurative, abstract, symbolic and metaphorical approaches? Or was it the Jewish-themed content?
In the 49 pieces by 21 artists (including two etchings by Marc Chagall), there were illustrated Biblical characters and stories; depictions of traditions and rituals; and a fair number of the works employed the Hebrew alphabet to evoke emotion and inspire the composition.
“The exhibit shows how artists use a modern visual language to express their Jewish identities,” said Susan Chevlowe, chief curator and museum director who guided me through the light-filled gallery, which is part of the Hebrew Home at Riverdale and set on a shallow hill that slopes down to the Hudson River.
“It’s hard to separate the two elements or say which is more defining,” Chevlowe said. “The majority of these artists were artists early on in their lives, drawing and sketching as children. Some grew up steeped in a Jewish tradition and others came to their Jewish identity later in life, especially in the post-Holocaust years. Percival Goodman is an example. An agnostic, he was best known as a modernist architect. But in the post-Holocaust years he became interested in Biblical figures.”
Chevlowe pointed to Goodman’s painting “Rebekah and Jacob,” presenting two large, sharply drawn flat heads. The bold colors outlined in stark black stripes summon forth figures that border on the cartoonish, yet are also strikingly beautiful. Here, the matriarch Rebekah beams at her younger son Jacob with whom she is scheming to steal her older son Esau’s birthright.
A number of the works reflect, in subtle and layered ways, Jewish traumas coupled with homage and pride and in some instances a touch of the elegiac.
Adam Muszka’s “Sabbath Meal,” painted in the 1960’s is a nostalgic look back at the lively Polish shtetl that he grew up in and that no longer exists. With its sentimental tone, the painting evinces distortion. Two figures in the foreground are over-sized, while the homes in the background are shrunken and lopsided — an indication, perhaps, that this is a falsely rosy memory.
In the seemingly more realistic 2003 painting, “Choral Synagogue, St. Petersburg, Russia,” one of the more recent works on display, Joyce Ellen Weinstein brings to life the massive temple entrance and the decorative gate in front of it, “which is slightly off kilter,” Chevlowe pointed out. “Notice the barbed wire on top of the gate. The painting suggests the dignity of the synagogue and its people and also the difficult position of Russian Jews throughout history.”
Chevlowe was hard pressed to pick a favorite, though she admitted a special fondness for Jane Logemann’s 1996 “Alphabet,” a series of pale blue and purple ink wash panels adorned with repeated pairs of Hebrew letters, in pen and ink, which create a vertical pattern from the top of the page to the bottom. The series is poetic, lyrical.
“Logemann is interested in patterns and structures of nature,” said Chevlowe. “Some letters are large, others small. There’s a randomness here. Her choices are intuitive. For many artists the abstract is spiritual. For some mysticism and spiritual quest are essential in their work.”
One of the better known artists in the group is Mark Podwal. In his 2002 “Dreidel Hanukkia,” an acrylic painting, we see a menorah balanced on a dreidel and on the opposite side of the page there’s a less readily definable bench lamp.
“It’s modern and old and very playful,” said Chevlowe. “And each Hanukkah light, the menorah and the bench lamp, is cut off by the frame, cut off by the rest of the world. It’s a fragment. We often see that in Degas too.”
Some of the painters are more deeply embedded in or influenced by particular schools of art than others. In Jacques Yankel’s joyful and expressionistic “Torah,” one can see the Marc Chagall and Chaim Soutine lineage. Yankel’s emigre artist father lived in Paris and was very much part of the Paris school of art, which included Chagall and Soutine.
In New York, Ben-Zion, a Russian-born painter who arrived in the United States in 1920, was a recognized member of “The Ten,” abstract painters that consisted of, among others, Mark Rothko and Adolph Gottlieb, though curiously enough Ben-Zion was never really an abstract painter.
Moses was a frequent subject of his. In his 1962 “Moses Looking Down to the Promised Land,” our title character is viewed from the back, an imposing, heavily draped figure perched on a rocky terrain. He is staring out at Jericho, at once so close to and yet so far away from The Promised Land.
Abraham Rattner also employed Moses as the central figure and theme in his vibrant Picassoesque “Moses,” which features the Prophet clutching two blank tablets, devoid of the commandments or, indeed, any writings. His head twisted to the side and an integral element in a wild abstract design is as unsettling as it is thrilling. It is perhaps my favorite in the collection.
“I would like viewers to appreciate the richness in stylistic range and to be aware that these are highly trained, skilled and knowledgeable artists who come from a rich cultural tradition that includes all of art history,” Chevlowe told me. “At the same time they create something that’s original, authentic and beautiful.”
The post In the work of 21 artists, 49 different ways to be Jewish appeared first on The Forward.
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Forverts podcast, episode 8: Israeli voices
דער פֿאָרווערטס האָט שוין אַרויסגעלאָזט דעם נײַנטן קאַפּיטל פֿונעם ייִדישן פּאָדקאַסט, Yiddish With Rukhl. דאָס מאָל איז די טעמע „ישׂראלדיקע שטימעס“.
אין דעם קאַפּיטל וועט איר הערן צוויי אַרטיקלען: מיכאל קרוטיקאָווס רעצענזיע פֿון שירי שאַפּיראַס בוך דערציילונגען, וואָס אַנטפּלעקן דאגות פֿונעם „מילעניאַל“ דור, וואָס איר קענט אַליין לייענען דאָ, און בני מערס פּערזענלעכן עסיי, „דאָס אײַנפּאַקן אַ טאָרבע פֿאַרן לויפֿן אין שוצקעלער האָט עפּעס דערוועקט אין מיר“, וואָס איר קענט לייענען דאָ.
צו הערן דעם פּאָדקאַסט, גיט אַ קוועטש דאָ.
שירי שאַפּיראַס דערצײלונגען
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