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With ‘Let It Be Morning’ and ‘Cinema Sabaya,’ Israeli filmmakers are winning awards for portraying Palestinian stories
(JTA) — Years ago, the Israeli filmmaker Orit Fouks Rotem took a class led by director Eran Kolirin, best known as the maker of “The Band’s Visit.” This month, movies by both filmmakers are getting theatrical rollouts in the United States.
On a recent Zoom call, Palestinian author Sayed Kashua joked: “Was that his class — how to use a Palestinian story?”
Kashua was smiling on Zoom as he said it — he is, after all, known for his often fatalistic sense of humor, particularly when it comes to the Israeli-Palestinian conflict. And the author had given his blessing for Kolirin to make an adaptation of his novel “Let It Be Morning,” and said he loved the final result.
But like most jokes, this one had a kernel of truth: Israel’s two most recent Oscar submissions, hitting New York’s Quad Cinema within a week of each other, both — to varying degrees — tell Palestinian stories.
“Let It Be Morning” is a dark comedy about an Arab Israeli village that has suddenly and with no explanation been cordoned off from the rest of the country by the Israeli military. This event forces its Palestinian residents, including a protagonist trying to return to his comfortable middle-class life in Jerusalem, to reckon with how their dignity as citizens has been denied to them by the mechanisms of the Israeli occupation. At the Quad, the film is accompanied by a retrospective of Kolirin’s work, including “The Band’s Visit,” the basis for the Tony Award-winning musical; the retrospective is sponsored by the Israeli consulate in New York.
The all-female cast of “Cinema Sabaya,” a mix of Jewish and Arab actresses, in a film directed by Orit Fouks Rotem. (Courtesy of Kino Lorber)
The following week will see the opening of Rotem’s film, “Cinema Sabaya.” It follows a group of eight women, some Jewish and some Arab and Palestinian, who bond with each other while taking a filmmaking class in a community center in the Israeli city of Hadera. Cast member Dana Ivgy, who plays the class’s instructor, told the Jewish Telegraphic Agency that the filming experience “felt like how living in Israel should feel,” adding, “We have more women in the film than in the Israeli government.”
Stylistically, the two films couldn’t be more different. “Let It Be Morning” is a tightly plotted narrative with boldly realized characters; almost all of its dialogue is in Arabic. “Cinema Sabaya” is a loose, heavily improvisational piece that is almost entirely set in one room, and is mostly in Hebrew (although in one tense early scene, the characters debate whether to conduct their class in Hebrew or Arabic). One is a dry, Kafkaesque satire; the other is an intimate, naturalistic drama.
But together, the films provide a snapshot of the delicate dance Israeli filmmakers must perform in the current climate. On the one hand, these art-house directors are being feted on the international stage for their empathetic storytelling that incorporates or even centers entirely on Palestinian characters. But on the other, they’re being attacked by government officials for their perceived insufficient loyalty — and their films’ very status as “Israeli” is being questioned, too, sometimes by their own cast and crew.
“Everyone can call it what they want,” Rotem said of her film. “I’m an Israeli and it’s in Israel, but I have partners who call themselves Palestinians, and some of them call themselves Arabs, and each one defined herself. I think it’s really how it should be.”
“A film does not have an identity,” Kolirin insisted in an interview with JTA. “It is a citizen of the screen.”
Eran Kolirin accepted the award for Best Director for “Let It Be Morning” at the 2021 Ophir Awards in Tel Aviv on October 5, 2021. (Tomer Neuberg/ Flash90)
Kolirin isn’t a fan of the label “Israeli film” in this case, even though that is how “Let It Be Morning” was categorized at its 2021 Cannes Film Festival premiere; its own press notes also list Israel as the “country of production.” That Cannes screening took place shortly after Israel’s deadly conflict with Hamas that killed more than 250 Palestinians in the Gaza Strip and around a dozen Israelis. The events turned Cannes into a political firestorm when the film’s Palestinian cast refused to attend the premiere.
“We cannot ignore the contradiction of the film’s entry into Cannes under the label of an ‘Israeli film’ when Israel continues to carry its decades-long colonial campaign of ethnic cleansing, expulsion, and apartheid against us — the Palestinian people,” the cast’s statement read in part.
“Each time the film industry assumes that we and our work fall under the ethno-national label of ‘Israeli,’ it further perpetuates an unacceptable reality that imposes on us, Palestinian artists with Israeli citizenship,” the statement continues, calling on “international artistic and cultural institutions” to “amplify the voices of Palestinian artists and creatives.”
Kolirin himself supported the cast’s action. He knew they were grieving over the outbreak of violence in Gaza and didn’t want to put themselves in a situation where “some politician is going to wave a flag over their head or whatever.”
What’s more, he said, the status of “Let It Be Morning” as an “Israeli” film, despite the fact that around half the crew was Palestinian, was not his decision: “The film was not submitted to Cannes as an Israeli film,” he said. “You know, you fill in the form: ‘Which were the countries that gave money?’” In this case, the answer was Israel and France.
Most of the cast later did not attend the Ophir Awards ceremony, Israel’s equivalent to the Oscars voted on by its filmmaking academy, where “Morning” won the top prize (which automatically made it Israel’s Oscar submission for that year). In solidarity at the awards, Kolirin read aloud a statement from his lead actress, Juna Suleiman, decrying Israel’s “active efforts to erase Palestinian identity” and what she called “ethnic cleansing.”
Orit Fouks Rotem (Courtesy of Kino Lorber)
“Cinema Sabaya” hasn’t played host to as much offscreen controversy, but its vision of Israeli multiculturalism is still inherently political. Rotem’s mother is a local government adviser on women’s issues in Hadera, and the film was inspired by her experience participating in a photography class designed to unite Jewish and Arab women. Rotem herself later led filmmaking classes in a similar vein as research for “Sabaya.”
In the film, Ivgy’s character, who is modeled on Rotem, instructs her class to film their home lives, while secretly hoping to make a movie from their efforts. When her desire to do so is revealed, the women in the class feel betrayed: They thought they were just making films for themselves, not for their stories to be told by someone else.
Similarly, Rotem said that working with Arab and Palestinian actresses made her “aware to the fact that I can’t really tell their story.” Her solution was to allow the performers — some of whom are well-known activists who had to think twice about appearing in an Israeli movie — to voice their own opinions, and to establish the necessary trust to allow them to be unscripted on camera.
She theorizes that “Cinema Sabaya” has been so well received in Israel because “it doesn’t say ‘occupation, occupation, occupation.’ It says ‘humanity,’ so people are less afraid.” (She also noted that, in real life, the women who attended her filmmaking classes bristled at her initial suggestion to make a documentary about them, telling her to fictionalize their stories instead — which she did.)
Lately the Israeli government has a tendency to view its filmmaking class as agitators unworthy of national support, particularly when they make films criticizing the occupation. Former Culture Minister Miri Regev often disparaged films she thought were bad for Israel, including celebrated international hits such as “Foxtrot” and “Synonyms.” Her current successor, Miki Zohar, has already threatened the makers of a new documentary about the West Bank city of Hebron, saying the movie smears the military and that the directors might have to return government funds.
In recent years, Israel’s culture ministry has pushed two new controversial proposals: a grant program earmarked for those who make films in settlements, which are considered illegal under international law; and a form pledging not to make films “offensive” to Israel or the military that filmmakers would be required to sign in order to apply for certain grants, which many directors have likened to a loyalty oath. For years, some of the country’s largest grantmakers have required applicants to sign a form promising to represent their projects as Israeli on the national stage.
There has also been an effort among some members of Prime Minister Benjamin Netanyahu’s new right-wing government to end funding to public broadcaster Kan, which the country’s film industry views as another attack on its free expression.
“Kan has all this dialogue,” Ivgy said. “It has Jewish and religious and Arab and Palestinian, for kids and for grownups. And nothing is taboo there. I feel that it’s very dangerous to close that option down.”
Many Israeli filmmakers are fighting back. Hundreds, including Kolirin and Rotem, have refused to sign the ministry’s pledge, and many have also protested the settlement grant program. Nadav Lapid, one of the country’s most celebrated and outspoken directors, harshly critiqued government restrictions placed on his own work in the 2021 drama “Ahed’s Knee,” which went on to win a special prize at Cannes.
Kolirin said he had recently been on a call with several Israeli filmmakers looking to further organize against artistic restrictions, and that it had given him hope. “I had this feeling of some optimism, which I didn’t have for a long time,” he said. But he didn’t mince words when discussing Israel’s new governing coalition, which he likened to “a circus of mad dogs unleashed.”
Rotem said that the current government is “very, very bad and scary,” but that it has only strengthened her resolve to make political films.
“For me, it’s also political to show women in Israel in a deep way: I mean Arabs and Jews,” she said. “Because I don’t think there are enough films that are doing that.”
For Kashua, a veteran TV writer and opinion columnist, the question of identity in Israeli and Palestinian filmmaking is even more pronounced. After a long career of trying to write about the Palestinian experience in Hebrew as a way of reaching Israelis, he left Israel for the United States in 2014, becoming discouraged by an incident in which Jewish extremists burned a Palestinian teenager alive as revenge after Palestinian terrorists kidnapped Israeli soldiers. Now based in St. Louis, he has worked as a writer and story editor on Israeli series that center on both Palestinian and Jewish stories — including the global hit “Shtisel,” which focuses on haredi Orthodox Jews, and its upcoming spinoff, along with “Madrasa,” a young-adult series about a bilingual Hebrew-Arabic school.
Israeli filmmakers choosing to center Palestinian stories can be its own radical political act, Kashua believes. He noted that the dialogue in “Morning” is almost entirely in Arabic, a language that Israel demoted from national language status in 2018 — doubly ironic as he had deliberately chosen to write his original novel in Hebrew.
“The idea that this film is ‘Israeli’ — it really contradicts the idea of Israel being a purely Jewish state,” Kashua said. He added that, while he had initially hoped a Palestinian director might have adapted his novel, he was ultimately happy with Kolirin’s approach.
“I truly love the movie, and it’s barely Orientalist,” he joked, echoing Palestinian-American intellectual Edward Said’s famous book about how a Western lens on Eastern cultures can be reductive and harmful. “Which is a big achievement for an Israeli filmmaker.”
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The post With ‘Let It Be Morning’ and ‘Cinema Sabaya,’ Israeli filmmakers are winning awards for portraying Palestinian stories appeared first on Jewish Telegraphic Agency.
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Do European Nationalists Really Love Israel?
A police officer stands at the scene, after a man was arrested following a stabbing incident in the Golders Green area, which is home to a large Jewish population, in London, Britain, April 29, 2026. Photo: REUTERS/Hannah McKay
For decades, major pollsters around the world have conducted surveys on attitudes toward Jews. For decades, these surveys have produced more heat than light.
“Thinking of Jews, is your attitude generally positive or negative?” — that is the typical formulation. Time after time, pollsters found that in the West in general, and in the Anglosphere in particular, negativity toward Jews was low. Perhaps 10–15% of the Western public would openly state that they see Jews negatively.
That number may still sound high to some. But what does it actually mean in terms of the potential for rapid political mobilization? Nobody really knows. Yet much of the academic research on antisemitism — conducted in major universities and sponsored by well-meaning donors — never seriously bothered to ask the crucial questions: what does this figure mean, and is it a lot or a little?
But there is another puzzle hiding in plain sight, equally gracefully ignored. The trend in negativity toward Jews is flat. If surveys are to be believed, not much has changed in the minds of Westerners over the past decade, and possibly longer. And yet, with reports constantly highlighting a global surge in antisemitic incidents reported by Jews to the police, one is tempted to ask: who is lying? Jews who report incidents to the police and Jewish communal bodies? The police? Or the surveys?
I have an answer: the surveys are. Or rather, the surveys are asking the wrong question.
What they should be asking, and some do, only less enthusiastically than they should, is whether the Western public is negative toward Israel.
And this is emphatically not because what people feel about Israel is an objectively true measure of Jews’ status, or even Israel’s status, in the Western imagination. It is because attitudes toward Israel function as a mirror: they reveal the respondent’s own identity, the way they see themselves, and their hopes for their society. In a way, Jews and Israel can almost be forgotten. They are only needed as instruments to tease out people’s real political selves.
Have you noticed a finding that some consider “strange,” others applaud, but nobody explains convincingly? When surveys ask about attitudes to Israel and also ask about political affiliation — and when the responses are cross-classified — it turns out that nationalist circles in the West are often quite pro-Israel.
In a recent YouGov survey in Britain, for example, 39% of Reform UK supporters (the most nationalistic large British party) identified as pro-Israel, and only 13% said they were anti-Israel.
Contrast this with the currently surging far-left force, the Green Party: only 4% of Green supporters were pro-Israel, while 60% were anti-Israel. The British political old-timers — the Conservatives and Labour — show similar dynamics in essentials. While the traditionally nationalistic Conservatives lean more pro-Israel than anti-Israel, Labour leans in the opposite direction.
These findings are not new. Nor are they limited to a single pollster.
It is true that the British political map has been redrawn in recent years. The old two-party dynamic — similar to what exists in the US — no longer holds, at least for now. The Conservatives and Labour are no longer the uncontested icons of Right and Left. Instead, both look like spent forces. British politics now has clearer, more sharply defined right-wing and left-wing agendas, represented by Reform UK and the Greens. But the basic pattern — the positivity of nationalists toward Israel and the hostility of socialist circles toward it — has existed for years. It is traceable back at least a decade.
The lack of serious commentary on this is astonishing, especially given that both radical left and right-wing forces are rising across Europe. So what is happening to the nationalists? Do they really care about Israel? And should this be celebrated by those who care about Israel?
My answer, from the crossroads of demographic and historical research, is simple: British nationalists care first and foremost about themselves. They are pro-Israel because Israel is useful to their self-understanding.
The way European nationalists see Israel is simply the way they want to see themselves. Israel, in their eyes, is a Western country — close in manners and sensibilities to their own. It is a muscular Western democracy, defending its citizenry and saying a decisive “yes” to prosperity and innovation, and a decisive “no” to attempts to valorize terrorism or relativize good and evil.
While such games could be played for a while in the West, Israel did not have the luxury of indulging in them for long. And so, not by design but by historical slippage, Israel became the version of the West that Western nationalists crave but can no longer see around them. At the same time, Israel’s neighbors and insurgents are associated with anti-Western sentiments and terrorism — and, more broadly, with what is not the West. The very West of which Britain is a formative part, and which nationalists believe deserves celebration.
In a recently published feature refreshingly titled “Zionism for Everyone,” Alana Newhouse proposes a simple test of national wellbeing. Can a country maintain its demographics? Can it defend itself? Are its people happy?
In Israel’s case, the answer to all three questions is a resounding yes. Israel’s population grows naturally. Israel fights wars — not without successes, to put it mildly. And Israelis report some of the highest levels of happiness in the Western world. Zionism, Newhouse argues, is a recipe for everyone.
Is this merely wish-casting — an expression of the author’s political preferences? Not so fast. It looks like large swathes of European nationalists feel similarly. Listening to their critiques of their own societies, it is procreative confidence, pride, muscularity, and optimism that they identify as both lacking and desirable.
And what of British Jews?
Their politics is also being redesigned. Like the rest of the UK, they are increasingly interested in the newly popular right-wing and left-wing forces — Reform UK and the Green Party. Like the rest of the UK, they are less interested in the old political brands, Conservatives and Labour. Recent surveys of British Jews make this clear.
Yet British Jews are not overwhelmingly aligned with Reform UK. The extent to which nationalist pro-Israel sentiment affects Jewish voting behavior remains unclear. At the risk of sounding dramatic, this resembles unreturned love.
Put more analytically: British Jews, and Diaspora Jews more broadly, do not share a single unified vision of their host societies — or of themselves. People often speak of “Jewish interests.” Perhaps the only idea that unites both antisemites and philosemites is the belief that Jews have some collective “interest” that they coordinate politically. The difference is that antisemites describe this alleged interest in sinister terms, while philosemites relate to it with sympathy. Both miss the point.
Jewish political instincts do not boil down to guarding some uniquely defined and unambiguous “Jewish interest.” Jews are as divided over what is good for them as their host societies are. And that is perhaps the best-kept secret about Jewish politics.
So what are these competing visions of society now being contested in Britain?
One vision, promoted by British nationalists, holds that nations are natural units of human existence. Their elites, however flawed, should take care of them. Borders should be guarded. National identity should be celebrated. In that broad family of nations, Britain, Israel, and the West more generally are benevolent forces — associated with lifestyles conducive to freedom and prosperity.
An opposing vision, promoted by the far left and expressed eloquently by the leader of the British Green Party, Zac Polanski, is one in which no country has a right to exist. Similar sentiments have been voiced before. In this worldview, individuals — not nations — are the natural units of humanity. Nations are retrograde, perhaps ridiculous. End of story. Full stop.
From this menu of national versus post-national dishes, the whole of the West — majorities and minorities alike, including Jews — is now choosing. These choices dictate voting behavior and political rhetoric.
If we adopt this framework, the nationalists’ love of Israel at this particular historical moment, as well as Jewish ambivalence toward nationalist parties, becomes simultaneously explainable. Until now, both the nationalist affection for Israel and Jewish lack of enthusiasm for nationalists have seemed puzzling. But a single explanation that solves several puzzles at once is usually the strongest explanation — assuming Occam’s razor still holds.
In today’s West, broadly speaking, whoever loves the West loves Israel. The two loves are connected because Israel is perceived as the West — condensed, sharpened, and made morally legible. By extension, whoever cannot tolerate the West cannot bear Israel.
And so, as long as the West remains capable of self-love at all, Israel will remain acceptable in its books.
Dr. Daniel Staetsky is an expert in Jewish demography and statistics. He is based in Cambridge, UK.
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Exposing The New York Times’ Tucker Carlson Interview
Tucker Carlson speaks on first day of AmericaFest 2025 at the Phoenix Convention Center in Phoenix, Arizona, Dec. 18, 2025. Photo: Charles-McClintock Wilson/ZUMA Press Wire via Reuters Connect
Like everyone who has sat down in recent months to interview Tucker Carlson, The New York Times’ Lulu Garcia‑Navarro too often allowed him to do what he does best: answer anything and everything with a mixture of sophistry, dishonesty, and vagueness.
Overall, she did a better job than most. Economist editor‑in‑chief Zanny Minton Beddoes, for example, all but avoided Carlson’s most insidious claims about Israel and Jews in her own interview, preferring to spar with him on safer, domestic territory.
Garcia‑Navarro, by contrast, doesn’t duck the subject at all.
Naming the Trope Without Truly Challenging It
She pointedly asked him about “rhetoric where everything is blamed on Israel, where Israel is seen as the core of all of these problems,” and notes how his rhetoric “has echoes of the Protocols of the Elders of Zion,” rhetoric that “opens the door to this idea that there is a very powerful sect of Jewish people who want global war and global conflict.”
She challenged his platforming of Nick Fuentes and tied it to Holocaust denial and to the way dehumanizing language paves the way for mass violence.

“The Holocaust didn’t start with the gassing of Jews. It started with the dehumanization of Jews, with the way that they were spoken about, with the language that was used,” she told him. It is a powerful line.
But she followed it with a curiously soft question: “Why do you think you get tagged so often with antisemitism?”
“Tagged” as antisemitic? Why ask Carlson how he feels about the label rather than confront him with his own words?
Why press him him on his claim that Dick Cheney’s office was “completely controlled … by people who were putting Israel’s interests above America’s interests,” or his description of Donald Trump as a “slave” to Benjamin Netanyahu and his “advocates in the United States,” and ask him directly how that is not trafficking in classic antisemitic narratives about Jews driving wars?
Why not force him to account for his line that “Israel pushed the United States president” into war with Iran and sought to keep the conflict going until Iran was “destroyed and chaotic, which is the Israeli goal”?
The Question Garcia-Navarro Never Really Asked
What Garcia‑Navarro too often failed to do is what so many interviewers before her have also failed to do: ask Carlson for evidence and stay on the claim until he either substantiates it or admits he cannot. When he portrayed Trump as a “hostage” and “slave” to Netanyahu and suggested Israeli leaders drove both the Iraq and Iran wars, she largely let those claims stand without demanding proof in the moment.
At his most evasive, Carlson falls back on one of his most familiar tactics: either feigning ignorance or retreating into an undefined “they.”
To her credit, Garcia‑Navarro did at one point press him on that famous “they” — asking him explicitly who “they” are when he talks about shadowy forces pushing Trump toward war. That, precisely, is what a good interviewer should do.
Carlson’s “They” and the Return of Old Conspiracies
But then, at other moments, she let him wriggle away. She raised the Protocols of the Elders of Zion herself, clearly aware of how central that forged text is to the idea of a Jewish cabal manipulating global events. Carlson responds by saying he has merely “heard references to it” and that it is “like a Tsarist forgery or something.”
This is one of the most prominent right‑wing media figures in America, a man who opines constantly about antisemitism, Jews, and Israel. How is it conceivable that he has not properly “heard of” one of the foundational antisemitic texts of the last century? Why not simply ask that? Why not point out that he is disavowing knowledge of the book while reproducing its very structure in his claims about shadowy pro‑Israel forces controlling presidents and forcing wars?
Letting Conspiracy Theories Stand Unchallenged
Carlson deserves to be challenged at the level of evidence, not just rhetoric.
On Iraq, he made the claim that former Vice President Cheney’s office was being controlled before concluding, “I would say the Iraq war was to a great extent a product of that.” On Iran, he similarly claimed that “Israel pushed the United States president” and that Israeli strikes on civilians in Lebanon were designed to sabotage diplomacy and “keep this going until Iran was destroyed and chaotic, which is the Israeli goal.”
On the latter point, Garcia‑Navarro mostly restated his claims and tacitly accepted the framing by asking why Trump has been uniquely susceptible compared with previous presidents. On both wars, she never put to Carlson the obvious counter‑facts: post‑9/11 doctrine, US intelligence assessments, the role of Gulf states, or Iran’s own conduct. She never tests whether “Israel did it” is anything more than a monocausal conspiracy theory.
Israel’s Legitimacy Treated as an Open Question
The same pattern holds for Israel’s basic legitimacy. Carlson was allowed, repeatedly, to pivot to his preferred talking points. He questioned whether Israel has any “unique right to exist” based on scripture and whether “people whose ancestors didn’t live here now occupy the land.”
Garcia‑Navarro did note that this rhetoric veers into delegitimizing Israel as the homeland of the Jewish people, but she did not test his reasoning. Israel is not a case of “Bible or bust.” There are non‑theological bases for its legitimacy — UN partition, international recognition, state practice — that never entered the conversation.
By keeping the debate locked inside Carlson’s chosen frame — is Israel’s biblical claim valid? — the interview ended up treating the very question of Israel’s right to exist as an open, almost abstract dilemma.
Would Garcia‑Navarro ever entertain, in the same way, the question of whether Algeria or Pakistan “really” have a right to exist, on the grounds that their borders are disputed and their populations include people “whose ancestors didn’t live there” a hundred years ago?
The New York Times Problem
In that sense, Garcia‑Navarro becomes a proxy for broader New York Times tendencies. She is very good at naming labels: antisemitism, “cabal” tropes, the Holocaust, genocide, “delegitimizing Israel.”
But when Carlson made concrete empirical claims — that Israel decides US wars, that it deliberately targets civilians in Lebanon to blow up peace talks, that “hundreds” of people in Britain have been arrested simply for “criticizing Israel,” that Israel practices “collective punishment” — she rarely forced him to supply proof or confront counter‑evidence.
The Times is comfortable talking about antisemitism as a feeling or fear. It is much less comfortable adjudicating factual narratives about Israel, even when those narratives echo some of the oldest antisemitic myths in circulation.
Antisemitism as Rhetoric, Not Fact-Checking
That asymmetry runs through the interview. Throughout, Garcia‑Navarro seems more at ease challenging Carlson on certain narratives than others. She pushed repeatedly on his theological musings about Trump as a possible “Antichrist” and on Christian morality in the age of Trump. Yet she took a comparatively light touch toward Carlson’s sweeping claims about Israel’s agency and Israel as the prime driver of Middle Eastern conflict.
That choice is particularly striking because Garcia‑Navarro is not a novice on these issues. She has previously hosted ADL chief executive Jonathan Greenblatt to discuss antisemitism, anti‑Zionism, and “double standards” toward Israel, and she has reported extensively on Israel and the Palestinians. She knows that “Israel controls US policy” narratives are a staple of modern antisemitism. Precisely because she knows this, the decision to let so many of those claims pass without forensic challenge is important.
When Caveats Replace Journalism
When a platform as powerful as The New York Times invites Tucker Carlson to explain why Israel supposedly drives American wars, the minimum journalistic standard cannot be to name the antisemitic tropes and then leave his assertions hanging in the air.
It has to be to interrogate them, to demand evidence, and to put his story about Israel alongside the facts about how US policy is actually made. Otherwise, even a well‑meaning interview risks laundering a familiar narrative — that a small, uniquely suspect Jewish state and “its advocates” pull the strings — into the mainstream with only the thinnest of caveats.
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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EU sanctions Israeli settlers after Hungary, under new leadership, clears path
(JTA) — The European Union decided to sanction Israeli settlers over violence against Palestinians in the West Bank on Monday, moving forward a measure that had been blocked for months.
The EU’s 27 foreign ministers agreed on the sanctions at a meeting in Brussels after Hungary’s new government gave its approval.
The measure had been blocked by a close ally of Israeli Prime Minister Benjamin Netanyahu, Viktor Orban, who was Hungary’s president for 16 years before being unseated in April.
The backing from Peter Magyar, who was sworn in as Orban’s replacement on Saturday, is seen as portending a new era in which the consensus-oriented European Union adopts a more united tone against Israeli policies.
Magyar has pledged to restore ties with the EU after Orban’s far-right politics isolated Hungary. He also said he would pursue a “pragmatic relationship” with Israel and vowed to recommit Hungary to the International Criminal Court, which Orban withdrew from after the court issued an arrest warrant for Netanyahu over alleged war crimes.
“It was high time we move from deadlock to delivery. Extremisms and violence carry consequences,” Kaja Kallas, the EU’s top diplomat, said on X.
Kallas said ministers also agreed to impose “new sanctions on leading Hamas figures,” who were not specified.
Kallas did not name the Israelis that will now be sanctioned or specify whether they will be organizations, individuals, or both. Several groups play crucial roles in promoting, developing, financing and defending Israeli settlements, while multiple individuals have previously faced sanctions by individual governments over their alleged involvement in violence against Palestinians.
Settler violence in the West Bank surged after the Gaza war began in October 2023 and further intensified since the U.S.-Israeli war with Iran broke out in February. In March, thousands of Diaspora Jewish leaders called on Israeli President Isaac Herzog to take action to stop the violence.
Israel’s foreign minister Gideon Saar said Israel “firmly rejects” the EU’s decision and accused the bloc of imposing sanctions on Israeli citizens and groups “because of their political views and without any basis.”
“Equally outrageous is the unacceptable comparison the European Union has chosen to make between Israeli citizens and Hamas terrorists. This is a completely distorted moral equivalence,” Saar said on X. He added that Jewish people have a “moral and historical right” to “settle in the heart of our homeland.”
Peace Now, which advocates for a two-state solution to the Israeli-Palestinian conflict, said the EU had sent “a grave warning sign” and “a call to the Israeli public to wake up to the reality we have created through decades of occupation.”
“The rampant violence of settlers in the West Bank, encouraged and supported by the government, is leading Israel into a moral abyss and casting an indelible stain on the state of Israel,” the group said in a statement.
Broader measures against Israel remain stalled by a lack of support. Spain, Ireland and Slovenia have pushed for the EU to suspend its trade agreement with Israel and sanction its far-right cabinet ministers, Itamar Ben-Gvir and Bezalel Smotrich. France and Sweden have called for tariffs on imported products from settlements in the West Bank. Other member states, such as Germany and Italy, have refused to support those measures.
Under the Biden administration, the United States sanctioned multiple settler leaders, settler groups and West Bank outposts in 2024. Trump canceled the sanctions a day after reentering office in January 2025.
In March, Trump’s secretary of state, Marco Rubio, said the administration had expressed concerns about settler violence to the Israeli government and anticipated that the government would take action.
This article originally appeared on JTA.org.
The post EU sanctions Israeli settlers after Hungary, under new leadership, clears path appeared first on The Forward.
