Uncategorized
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.”
—
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.
Uncategorized
Israeli-American soldier Moshe Katz, killed in Lebanon rocket strike, laid to rest on Mt. Herzl
(JTA) — Hundreds gathered on Sunday night at Israel’s military cemetery on Mt. Herzl for the funeral of Moshe Yitzchak Hacohen Katz, an American-born Israeli soldier who was killed by a rocket strike on Saturday in southern Lebanon.
Katz, 22, from New Haven, Connecticut, is the fifth Israeli soldier killed in Lebanon since Hezbollah, an Iranian proxy in Lebanon, resumed attacks on Israel following a 2024 ceasefire, after Israeli and U.S. strikes on Iran last month.
“With unspeakable tragedy I regret to inform you that my 22 year old son Moshe Yitzchak a*h a sergeant in the idf, fell in battle in Lebanon,” Katz’s father, Mendy, wrote in a post on Facebook on Saturday. “My oldest Son with a zest for life and jokes. Burial is tomorrow in israel. Maybe we only share good news. My heart is shattered and the wound is real.”
Mendy Katz had been in Israel when the war began and posted on March 7 about witnessing his son’s graduation from basic training with the Israel Defense Forces before returning to the United States via Egypt.
During the funeral on Sunday, Katz, who was posthumously promoted from corporal to sergeant and was affiliated with Chabad, was eulogized by a host of fellow soldiers who referred to him as a “true friend” who “always used to make sure that anyone around him was always taken care of.”
“Moshe was a brave soldier, we have proof of that, but more than that, he was a loyal friend, he was a hard-working son and a loving, caring brother,” Adina, Katz’s sister, said between tears during her eulogy. “Moshe’s body might be gone, but his legacy is not. He was a proud soldier and a proud Jew, and we are the proudest family.”
Israeli Prime Minister Benjamin Netanyahu offered condolences to Katz’s family in a post on X and wished a speedy recovery to three other soldiers moderately wounded in the attack.
“Moshe z”l immigrated to the land from the United States, enlisted in the Paratroopers Brigade, and fought bravely for the defense of our homeland,” Netanyahu wrote. “On behalf of all Israeli citizens, we embrace Moshe z”l’s family in this difficult hour and wish a swift and complete recovery to our fighters who were wounded in that incident.”
On Sunday, Netanyahu announced that he had instructed the Israeli military to further expand its operations in Lebanon in order to “finally thwart the threat of invasion and to push the anti-tank missile fire away from our border.”
Menachem Geisinsky, a photographer and friend of Katz’s, also eulogized him in a post on Facebook, writing that he “forever will be my hero” for “his bravery in coming all the way from New Haven, Connecticut to fight for what he believed was right and also for being a man who wouldn’t tolerate a frown.”
“So be like Moshe. Be a hero. Make someone’s day. Make someone giggle or smile,” wrote Geisinsky. “Step up, and be the man Moshe was, and forever will be remembered as.”
Katz is survived by his parents, Mendy and Devorah Katz; siblings Adina, Yehuda, Shua and Dubi; and grandparents.
The post Israeli-American soldier Moshe Katz, killed in Lebanon rocket strike, laid to rest on Mt. Herzl appeared first on The Forward.
Uncategorized
A second poll of US Jews finds the same result: Most oppose the war in Iran
(JTA) — For the second time in a day, a nonpartisan poll has found that most American Jews oppose the U.S. military campaign against Iran — even as 90% of them say they oppose the Iranian regime.
The new poll, conducted by GBAO Strategies on behalf of the liberal pro-Israel lobby J Street, found that 60% of U.S. Jews say they oppose “the US military action against Iran.”
About the same proportion, 63%, said they believed “the most effective way to address U.S. and Israeli concerns about Iran’s nuclear program and destabilizing regional actions is through diplomacy and sanctions,” not military action.
And the majority of American Jews said they believed the war will not improve Israel’s security, with a third saying they believe the war will weaken Israel’s security.
As with the previous poll released earlier on Monday, the poll found a sharp partisan and denominational split in the results, with Republicans and Orthodox Jews more likely to support the war, which the United States and Israel jointly launched on Feb. 28.
A press release from J Street touted the survey as “the first methodologically sound poll of Jewish American opinion since the conflict began,” positioning the results as an antidote to findings from the Jewish People Policy Institute, which surveys “connected” U.S. Jews and has found that a majority of them support the war, even though the proportion has fallen since the war’s start.
“This data is a wake-up call for anyone claiming to speak for the American Jewish community while beating the drums of war,” J Street President Jeremy Ben-Ami said in a statement. “Most American Jews see this war for what it is: A reckless, unforced error by a President who has no clear, achievable goals or an exit strategy. This poll proves that the ‘pro-Israel’ position is the pro-peace position – and that means stopping this war before more lives are lost.”
The survey of 800 Jewish registered voters was conducted March 24 to 26 and has a margin of error of 3.5 percentage points.
The J Street survey also asked respondents about other issues related to Israel. It found that 70% of U.S. Jewish voters said they are more sympathetic to the Israelis than the Palestinians in the Israeli-Palestinian conflict, compared to multiple polls finding an even split or slight edge for the Palestinians among Americans overall.
It also found that 70% of American Jews oppose unconditional military and financial assistance to Israel — reflecting a mounting political consensus that is at odds with the priorities of AIPAC, the traditional pro-Israel lobby.
The post A second poll of US Jews finds the same result: Most oppose the war in Iran appeared first on The Forward.
Uncategorized
Their sons survived the battlefield but not their wounds. Now these Israeli mothers mourn together.
(JTA) — TEL AVIV — On the morning she left Jerusalem for a health retreat for bereaved mothers, Taly Drori was surprised to recognize another woman in her rideshare. More than two years earlier, they had often crossed paths in the intensive care unit of the same hospital, where their sons were being treated in neighboring rooms.
The woman was Hazel Brief, the mother of Yona, an American-Israeli soldier who was seriously wounded at Kibbutz Kfar Aza in the opening hours of the Oct. 7 attack. Drori’s son, Chanan, also a soldier, was severely injured in Gaza in December of that year.
Both women spent long nights watching their sons fight to graduate from intensive care into rehabilitation, a milestone neither reached. Consumed by their sons’ care, they barely spoke. When they passed each other in the ICU hallway of Sheba Medical Center, Brief said, it was often just “a nod and a look in the eyes, to say, I got you. I get you.”
After two months, Chanan died from a fungal infection. A year later, Yona followed.
The retreat, held in the Gilboa region in northern Israel, offered a different kind of rehabilitation, Brief said, a “sacred space” where hallway nods gave way to a shared language of grief, as mothers try to rebuild themselves.
The gathering was part of a new initiative by OneFamily, an Israeli nonprofit that supports families of terror victims and fallen soldiers. Its impact is so significant that founder Chantal Belzberg was awarded the Israel Prize for Lifetime Achievement last week, the highest civilian honor awarded by the Israeli government — at a time when more Israelis are unfortunately joining its constituency.
“I am moved not because of myself, but because of the people for whom OneFamily was created: bereaved parents, widows, orphans, bereaved siblings, double orphans, and the wounded, with visible and invisible wounds,” Belzberg said in a statement. “This prize is, first and foremost, recognition of them. It is an embrace for the thousands of families who continue to carry this country, even when their hearts are broken.”
Belzberg’s daughter, Michal Belzberg-Slovin, is a yoga instructor who embraced Drori’s suggestion for a weekly health-and-wellness circle for bereaved mothers, centered on movement, mindfulness and nutrition. During the current war, meetings are taking place in a bomb shelter. But before it began, Belzberg-Slovin led 10 weeks of Wednesday sessions before the group traveled north together.
The program draws more than a dozen women, ranging from their early 40s to late 70s, all bereaved mothers of soldiers except one whose son was killed at the Nova music festival. It was originally intended for mothers bereaved in the current war, but the flyer OneFamily circulated omitted that detail. As a result, several mothers who had lost sons years earlier joined the circle as well. Belzberg-Slovin called it a happy accident, saying their presence was “very strengthening and healing,” and that it offered newer members a glimpse of how life can reshape itself around loss over time.
After Chanan’s death, Drori said she felt grief register physically before she could process it emotionally. “My life energy was draining away from me,” she said. She described chest spasms, sleeplessness and difficulty concentrating. At one point, she struggled even to stand upright. “I felt like I was made of lead.”
The next summer, she and her husband Roni spent several weeks at a health retreat on a kibbutz in northern Israel, a change of scenery that coincided with the war with Iran. The days were structured around nature walks, breathing exercises, yoga and simple, clean meals.
“The place slowly brought us back to life,” she said. That experience, she said, convinced her that bereavement requires deliberate physical care as well as emotional support, because “grief and trauma are stored in the body.”
Drori took the experience and pitched it to OneFamily as a half-day program to fit into the routines of women juggling work, family and mourning. Belzberg-Slovin bought into the idea immediately.
“This is my language,” she said, describing years of yoga, reflexology and aromatherapy.
Belzberg-Slovin had grown up around OneFamily, which her parents founded in 2001 after the Sbarro pizzeria bombing in Jerusalem, inspired by her decision as a bat mitzvah-age girl to forgo a party and redirect the money to victims and their families.
The Wednesday circles became even more of a family affair when her husband, Nadav, stepped in to cook the group’s vegan meal.
While not bereaved herself, Belzberg-Slovin said her own uneven path into adulthood has made her attuned to other people’s pain. She recalled a childhood in which terror victims and their families were always in her home, and a young adulthood marked by hurdles, including an eating disorder, cycling though career paths and remaining single long after most of her peers were married.
“I’m not one of them but something in my upbringing gave me the sensitivity to be fully with them in this process,” she said of the women in her circle.
Yoga and OneFamily, she said, were the two constants. “OneFamily has always been my identity. I always went back to it,” she said. Now, married with two children and a third on the way, she said she finally feels she is arriving on her own terms. “Now I’m bringing my new self into OneFamily which is special for me.”
The circle incorporates trauma-sensitive yoga, adapting an approach often used with survivors of sexual abuse and other trauma. The emphasis, Belzberg-Slovin said, is not on achieving a pose but on slowing down and respecting where the body is holding. A second yoga teacher, who is also a licensed therapist, facilitates the group discussion afterward.
She described one participant who shared that she found it hard to enter a supermarket because she saw reminders of her son everywhere. “How do you get from yoga poses to speaking about grocery shopping? But that’s what happens,” Belzberg-Slovin said. “We bring up everything the body raises.”
One of the veteran bereaved mothers on the retreat was Ruhama Davino, whose son was killed nearly 12 years ago during the 2014 conflict in Gaza. Davino said she kept her relationship with OneFamily at arm’s length, speaking by phone but repeatedly declining invitations to attend programs. “Every time they called, I said no,” she said. “I wanted to stay far from the bereavement and just continue my life.”
She doesn’t know what made her finally show up to the Wednesday health circle after so many years, but she left the first time without any doubt that she would be back, she said. “It’s powerful to be there, to be part of it, to draw strength.” Being in a room with mothers newly bereaved, alongside others who have lived with loss for years, changed her mind. “In the end, each of us needs this for the body and the soul,” she said.
Before the war, Chanan Drori had been studying biotechnology at Hadassah College and was preparing to begin his final research project in a medical research lab. After his death, the lab launched a research track in his name focused on infectious fungi, the complication that ultimately killed him.
“Chanan dreamed of helping people for whom no cure existed,” Drori said. “He dreamed of developing those medicines, so we felt like the best way to commemorate him was by realizing his dream.”
Chanan was treated at Sheba by Dafna Yahav, the head of its infectious diseases unit, who also treated Yona. Brief credited Yahav with pushing to bring in experimental drugs from overseas and said she never approached the family as a case first. “With all her accolades and running departments and being a world renowned expert, she’s an incredible human before being an incredible doctor,” Brief said. “She always responded first as a mom talking to another mom.”
Although the timelines were different — Yona was hospitalized for 417 days and Chanan for two months — Brief said the two mothers shared a form of loss that is hard to explain even to families of other soldiers who receive their news in an instant, with a knock at the door.
The similarities didn’t end there. Both men had volunteered to serve. Chanan did not meet criteria for a combat role, and Yona was exempt after he was wounded by an exploding pipe bomb months before Oct. 7. Both men loved music. OneFamily helped bring a piano for Yona, who played piano and guitar, into the hospital.
Both men and their families believed they would survive. Despite sustaining 13 bullet wounds and enduring repeated complications during his hospitalization, Brief said she expected Yona to “make it.”
Three weeks before Chanan died, doctors woke him from a medically induced coma and the family brought musicians to play at his bedside, including Yagel Harush, a singer he loved. The family invited Harush back to sing at the celebration they expected to hold after Chanan’s recovery, and at his wedding to his fiancée, Rivka.
“He was supposed to live,” Drori said.
Instead, this winter, two weeks after Drori returned from the north, Harush performed at a memorial event for the second anniversary of Chanan’s death.
When Drori met Brief again at the retreat, the two women posed for a photo to send to Yahav. Brief said she didn’t want to describe the retreat as “nice” or “comforting,” because nothing offers real consolation — “there’s no nechama,” she said, using the Hebrew word for solace. But OneFamily, she said, offered something she struggled to find elsewhere.
“You so often feel abnormal in society and here all of a sudden you feel normal,” she said. “Here’s another mom that knows what it’s like to see her son in intensive care for an extended period of time. I can’t share that with many people.”
The post Their sons survived the battlefield but not their wounds. Now these Israeli mothers mourn together. appeared first on The Forward.