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Sundance documentary ‘Under G-d’ details the Jewish legal response to the Dobbs decision
(JTA) — Last summer, in the days after the Supreme Court’s reversal of Roe v. Wade, the landmark 1973 decision that protected the right to an abortion, Paula Eiselt was doing press work for her acclaimed documentary “Aftershock.”
The film — which documents how the American healthcare system disproportionately fails to keep women of color healthy during and after giving birth — kept her busy with interviews as it earned a wide audience on Hulu and in theaters. But Eiselt felt pulled into thinking about a project tied to the Court’s ruling in Dobbs v. Jackson Women’s Health Organization, which overturned Roe.
Staying true to her Jewish roots, Eiselt found a Jewish angle: the rabbis and Jewish organizations who are helping lead the charge in bringing lawsuits against the Dobbs decision.
“As a Jewish woman, a Jewish mother, to see that there are Jews, rabbis, organizations, standing up to these bans, to the Dobbs decision, and finding ways to flip the script on many of these laws was very inspiring,” said Eiselt, whose first film focused on an Orthodox female emergency responder service in Brooklyn.
Her new short documentary “Under G-d,” which premiered at the Sundance Film Festival on Sunday and plays there throughout the week, shows how Jewish people and institutions are using state laws called Religious Freedom Restoration Acts (RFRAs) — often used in the past by religious organizations on the opposite side of the abortion issue — to argue that Dobbs violates their religious freedom as American Jews. Traditional Jewish law permits (and even requires) abortion in some circumstances, particularly when the life or health of the pregnant person is at stake.
Among the first lawsuits aimed at Dobbs came from Congregation L’Dor Va-Dor in Boynton Beach, Florida. Its rabbi, Barry Silver, is a figure in Eiselt’s film, alongside Elly Cohen, an Indiana activist and mother who is part of the Hoosier Jews for Choice group; Jeremy Wieder, a leading rabbi at the theological seminary of Yeshiva University; and Rachel K. Laser, who in 2018 became the first woman, Jew and non-Christian to lead Americans United for Separation of Church and State.
A woman named Elly shown in film at a protest in Indianapolis with the Hoosier Jews for Choice group. (Courtesy of “Under G-d”)
“The test is this: Are you going to use RFRA only to protect fundamentalist Christians and their intolerance,” Silver asks in the 24-minute film, “or do Jews get to use it too?”
Cohen’s group led a lawsuit that led to a judge issuing a preliminary injunction in December against Indiana’s abortion ban, blocking its enforcement for now. Laser’s group joined a lawsuit filed in Missouri just last week. And three Jewish women filed a lawsuit alleging infringement of their religious freedom in Kentucky in October.
“The fact that Jews were leading this tactic and this battle, really no other group was thinking about it this way,” Eiselt said. “But as Jews, we know what it’s like when there is no separation between church and state, and this is the prime example of that.
“Of course, now there are many communities joining in with Jews, but Jews are kind of the one who started this,” she added. “I think that’s really true to Jewish involvement in civil rights and human rights, and it was inspiring.”
She noted that people from across the Jewish spectrum were included in the film — which ends with a rally that includes a Havdalah, or post-Shabbat service — and that the overwhelming majority of American Jews favor abortion rights, more than any other religious group, according to studies.
“Diverse Jews, different denominations,” the director said of her interview subjects. “The vast majority of Jews agree on this, from Orthodox to non-observant. There are very few Jews who will say that these bans are in line with values and law.”
Wieder, from Yeshiva University, says in the film that a minority view within Orthodox Judaism believes that “life begins at 40 days after conception,” while the majority says life begins at birth, and seemingly no Jewish religious tradition states that life begins at conception.
Eiselt, a mother of four, identifies as a Modern Orthodox Jew and is a board member of the Jewish Orthodox Feminist Alliance, where she focuses on reproductive justice issues. She describes the group as “a feminist organization within the Orthodox space that uplifts women’s leadership and participation in Jewish ritual.”
Her first film, “93Queen,” told the story of Ezras Nashim, a female ambulance corps that had to fight for acceptance in the Borough Park haredi Orthodox community.
Funding for the new film came from various film companies and philanthropic organizations, including Concordia Studios and the Sundance Institute, as well as Jewish Story Partners, the foundation backed by Steven Spielberg that launched in 2021.
The film debuted Jan. 22 — on the 50th anniversary of the Roe v. Wade ruling — and is showing in competition at Sundance. After that there are other plans: A “large impact campaign,” as Eiselt described it, will include screenings around the country, including with “Jewish groups, political groups, and reproductive rights groups.”
“Whatever communities you’re in, women are having abortions,” Eiselt said. “Whether they’re mothers, not mothers, whether they have five children, no children. This is part of women’s health care, so it affects everybody and in certain communities, such as more Orthodox communities where I come from, people don’t really talk about it, but it happens commonly.”
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VIDEO: A Hasid gives us a tour of Morocco in Yiddish
דער ירושלימער יוטוב־שטערן וועלוול קירשנבוים האָט לעצטנס אַרויסגעשטעלט אַ ווידעאָ אויף ייִדיש פֿון אַ פּרעכטיקן וויזיט, וואָס ער האָט געמאַכט אין מאַראָקאָ. עס באַגלייט אים זײַן חבֿר אַבֿרהם פּרץ.
אינעם ווידעאָ זעט מען ווי קירשנבוים דאַוונט שחרית מיט די אָרטיקע ייִדן און באַזוכט אַ גוט אָפּגעהיטענעם בית־עולם, וווּ עס ליגן באַערדיקט גרויסע צדיקים ווי למשל הרבֿ חיים בן עתר (1696–1743), באַקאַנט ווי דער „אור החיים“. „מענטשן מיינען, אַז נאָר אין אייראָפּע זענען דאָ קבֿרים פֿון צדיקים!“ זאָגט קירשנבוים.
מיר זעען אַ גרויסע, שיינע שיל מיט אַ פֿײַנער אַרכיטעקטור אין קאַזאַבלאַנקאַ; דעם גרויסן אַראַבישן שוק, וווּ קירשנבוים קויפֿט זיך אײַן מלבושים פּונקט ווי די מאַראָקאַנער גייען אָנגעטאָן. ער באַוווּנדערט אויך די שיינע טיי־גלעזער און טשײַניקן, וואָס מע פֿאַרקויפֿט דאָרט, און באַקענט זיך מיט אַ ייִדישן סוחר וואָס האַנדלט מיט זילבער און גאָלד, פּונקט אַזוי ווי זײַן טאַטע און זיידע האָבן געטאָן פֿאַר דור־דורות.
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Conservative and Christian movies are coming for Hollywood
A star-studded new movie set in a Soviet prison is coming out in November. James Franco and Rob Lowe anchor the cast of Confession, playing a brutal prison guard and an imprisoned dissident professor, and a disheveled Nick Nolte appears as a fellow prisoner.
These actors were once huge gets, and their names could convey legitimacy to a project. Nolte and Franco both have received Academy Award nominations. Lowe was a member of the Brat Pack, and was a regular on The West Wing.
Confession, written by Ben Shapiro and produced by the rightwing tabloid-esque news site The Daily Wire, is not the expected fare for actors with that kind of name recognition; Shapiro’s screenwriting aspirations have been the target of ridicule for years.
Nevertheless, this isn’t the only Daily Wire production getting big names; Danny Trejo signed onto a pro-ICE movie about Minneapolis in the aftermath of the Renee Good shooting, and Jonathan Majors led Run, Fight, Hide: Infidels earlier this year.
Each one of these actors has been, in some way, canceled or in career doldrums so may have been more open to working with The Daily Wire. And some have claimed that they did not know who Shapiro was, or what his politics were; Trejo’s son, Gilbert, said his 82-year-old father did not endorse ICE and was misled about the movie before he signed his contract.
Movie studios have struggled through the pandemic and the streaming era, both of which have tanked box office receipts, leaving the field open for movies from offbeat production studios. In addition to The Daily Wire, there has been a whole ream of Christian movies attempting to shift the stereotype of bible movies — that they’re preachy, low-budget straight-to-TV affairs with cardboard acting — to something more prestigious, or at least profitable.
The Christian company Angel Studios has been placing screenings of the half philo-semitic, half-antisemitic Jesus TV series The Chosen in movie theaters across the country, produced the right-wing hit The Sound of Freedom and is pumping out faith-based movies like the animated King of Kings Christmas story and David, a kiddie movie about the biblical king. Recently, Pinnacle Peak Pictures, another faith-based production company, premiered Daniel and the Fiery Furnace, another bible movie that was notable enough to merit a review in The New York Times. (Though admittedly it wasn’t a particularly positive one.)
For decades, Hollywood, and the media industry at large, has been associated with liberalism, progressive politics and diversity. (This is part of why conservative conspiracy theorists often insist that Jews control the media.) Even when conservatives are in power, satirical movies have poked fun at the ruling class — Team America: World Police spoofed George W. Bush’s foreign policy, while M*A*S*H critiqued Richard Nixon. During the current Trump administration, we’ve seen One Battle After Another lambasting immigration policies and rising white nationalism, Eddington on misinformation and populism, and The Apprentice depicting Trump directly.
But a rising number of higher-budget, bigger releases from the right wing, whether The Daily Wire’s conservative political parables or the Christian fables, are bringing a new kind of messaging — about the importance of God and country, about gender roles, about about the centrality of Jesus to the U.S. — to the American movie-going public.
This is no accident. A group of powerful conservative Christians, many of whom worked on Project 2025, are proponents of the Seven Mountains Mandate, a blueprint for Christian nationalism that instructs Christians to gain influence and control over the “seven mountains” of society — which include media, entertainment and the arts. The Mandate is part of the New Apostolic Reformation, a decentralized evangelical movement embraced by millions of Americans.
Jeremy Boreing, the director of many Daily Wire movies — though he has since left the company — said on a podcast hosted by businessman Patrick Bet-David that “It had always been part of our strategy to move into making culture, not just criticizing culture” as a way of proving that “there is a future where conservatives aren’t losing. There’s a future where we have political power and cultural power.”
Cultural power, of course, requires more than just a lot of movies; they have to be well-done, or at least appear to be. Previous Daily Wire productions, as well as other right-wing, MAGA movie ventures, have been hacky. Lady Ballers, about an unsuccessful men’s basketball team pretending to be women so they can dominate the league, was an unsubtle, unfunny and ultimately unwatchable spoof of transgender athletes. And even plenty of higher-budget attempts, like Daniel and the Fiery Furnace, can still fall victim to wooden acting and writing.
But now, with the financial success of movies like The Sound of Freedom and biblical parables like The Chosen, bigger stars are being drawn to projects like the Daily Wire’s lineup of pro-ICE, anti-immigration and anti-LGBTQ movies. With those bigger stars may come new audiences who might not have watched a Christian movie or Daily Wire project otherwise. And where there is money and viewers, mainstream Hollywood will go, too, no matter how progressive people expect the industry to be. We’ve already gotten a biblical epic from Amazon Prime, with The House of David, and there are likely to be many more to come.
After all, it wasn’t so long ago, after all, that Cecil DeMille’s The Ten Commandments was the biggest movie in town.
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‘Heil’ Mary? New Atlanta Falcons logo inspires Nazi comparisons
If there was something off about the logo the Atlanta Falcons unveiled on social media Wednesday, whoever runs their accounts did, uh, not see it.
Behind the black falcon graphic that began appearing on the football team’s helmets in the 1960s was a new background — a flag of red, tan, black and white vertical stripes. To thousands of people who responded to the logo, it looked distinctly German — in a 1930s kind of way.
“The Atlanta Falcons are preparing to invade Poland,” one fan wrote.
A day after its posting, the new profile picture had unleashed a deluge of Nazi memes in the 4,000-plus replies on X. One picture swapped in the logo for Nazi flags in the background of a historical photo of a Hitler rally. Another edited the Falcon claw to look like a Nazi salute.
Others depicted Hitler in a Falcons cap, references to Inglourious Basterds and the Battle of the Bulge and a World War II joke invoking a blown lead in Super Bowl LI.
“Falcons were up 28-3 at Dunkirk,” that tweet read.
The Falcons’ snafu enters a small but growing catalogue of Reich-coded brand mixups. Who can forget the German national soccer team’s ‘44’ soccer jerseys? There was also the swastika-emblazoned Hallmark gift wrap; the accidental Hitler mugs; and (for my money) the worst of the bunch, Zara’s concentration camp uniform shirt.
All of those have been addressed; so far, the Falcons’ has not. We’ve reached out to them for comment.
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