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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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Congress removes deadline for Holocaust-looted art claims, setting stage for more restitution battles
(JTA) — A new U.S. law removing a deadline for laying claim to art looted during the Holocaust has gone into effect after President Donald Trump signed it on Monday.
The 2025 Holocaust Expropriated Art Recovery Act, or HEAR Act, expands on a 2016 law, signed by President Barack Obama, that permits victims and descendants of victims of the Holocaust to lay legal claim to works of art looted by the Nazis or sold to the Nazis under false pretenses.
That law included a controversial “sunset clause” that required all claims of artwork looted by the Nazis to be filed by the end of this year. That clause has been removed, and the revised act permits families to file a lawsuit within six years of the discovery of looted artwork.
The law also further protects those seeking to retrieve their family’s looted property by preventing the current holders from using certain legal tactics unrelated to the subject matter — such as requesting to switch courts — during proceedings.
“For years, the sunset clause cast a shadow over every survivor and family whose stolen art is still missing,” Joel Greenberg, president of Art Ashes, a nonprofit that helps families recover their looted art, said in a statement to the Jewish Telegraphic Agency. “Now they can seek due process without the pressure of time and deadlines.”
Hundreds of thousands of pieces of fine art were looted from their Jewish owners by the Nazis, often by forced sales in the early years of the Nazi regime. Efforts to reunite the works with their owners or their descendants have been guided by an array of laws governed by an international compact including nearly two dozen countries. Restitution claims frequently ignite extensive legal battles.
The family of the cabaret artist Fritz Grünbaum, who was murdered in the Holocaust, for example, was able to recover works by Viennese Expressionist artist Egon Schiele that were in Grünbaum’s vast personal collection in 2018 after decades of efforts. The family has since continued to file legal action to reclaim Grünbaum’s works under the HEAR Act.
Watchdogs say the sunset clause may have caused those owning looted works to obscure them from public view.
“It was extremely important that Congress eliminated the sunset clause because it incentivized museums and others holding looted art to keep those works under wraps until the sunset period ended,” Greenberg said. “Now, that change and the other provisions ensure claims will be heard and decided on the merits and means that the commitment Congress made to survivors ten years ago when they first passed the HEAR Act is finally being honored.”
Both the original law and the new revision received bipartisan support. But the Republican Jewish Coalition credited Trump with its enactment, saying in a statement, “President Trump has consistently proven to be the best friend of the Jewish people ever to occupy the Oval Office, and his signature today ratifies the truth: the passage of time can never diminish the injustice of crimes committed by the Nazis and their collaborators during the Holocaust.”
The revision goes into effect just days after one of the most significant recent rulings in the restitution space. Last week, a judge ruled after a decade-long legal battle that a painting by Italian artist Amedeo Modigliani, once valued at around $25 million, must be returned to the descendants of its original owner, who was forced to sell the painting to the Nazis. The painting had been in the possession of a prominent New York-based real estate and art dealer family since 1996.
The post Congress removes deadline for Holocaust-looted art claims, setting stage for more restitution battles appeared first on The Forward.
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Holocaust Remembrance Day Marked in Poland, Germany Amid Nazi Displays, Rising Antisemitism
Participants with Israeli flags look at the landmark Birkenau extermination camp gate in Auschwitz Museum – former Nazi German Concentration Camp during the International March of the Living (MOTL) in Oswiencim, Poland on April 14, 2026. Photo by Dominika Zarzycka/Sipa USA via Reuters Connect
Eighty-one years after the Holocaust, antisemitism remains rampant in the heart of the former Third Reich, with incidents in both Poland and Germany underscoring a disturbing resurgence of Nazi-linked provocation and hatred across Europe — even as Jews and Israelis around the world marked Israel’s Holocaust Remembrance Day on Tuesday.
Polish far-right lawmaker Konrad Berkowicz sparked outrage in Warsaw after displaying a modified Israeli flag during a parliamentary debate, replacing the Star of David with a Nazi swastika.
Berkowicz’s act was widely condemned as a deeply troubling distortion of Holocaust memory and a provocative example of “Holocaust inversion,” weaponizing Nazi imagery to target Israel in a manner that promotes hateful rhetoric.
The European Jewish Congress (EJC) strongly condemned the incident, calling on government officials to take swift and decisive action to address the matter, deter similar acts, and uphold public accountability.
“This act constitutes a clear example of Holocaust inversion, distorting the memory of the Shoah, and trivializing its victims,” EJC wrote in a post on X, using the Hebrew word for referring to the Holocaust.
“The use of Nazi symbols in this context is not only offensive, but represents a serious form of antisemitic provocation, particularly on a day dedicated to remembrance,” the statement read. “Preserving the integrity of Holocaust remembrance and ensuring that antisemitism is not tolerated in public institutions is essential.”
Polish MP Konrad Berkowicz displayed an Israeli flag bearing a swastika during a parliamentary debate in Warsaw on Holocaust Remembrance Day.
This act constitutes a clear example of Holocaust inversion, distorting the memory of the Shoah and trivialising its victims.
The use of… pic.twitter.com/zeyRN5yG6T
— European Jewish Congress (@eurojewcong) April 14, 2026
The latest antisemitic incident came as Holocaust survivors from around the world joined thousands of participants in the 38th March of the Living, held at the site of the Auschwitz concentration camp in remembrance of the 6 million Jews murdered by Nazi Germany during World War II. The annual march goes from Auschwitz I to Auschwitz II-Birkenau, the Nazis’ largest death camp where 1 million Jews were killed.
During a ceremony, Revital Yakin Krakovsky, deputy chief executive of the International March of the Living organization, warned that antisemitism continues to endure today despite the lessons of the Holocaust, stressing that its warning signs are once again becoming impossible to ignore.
“Since Oct. 7, antisemitism has surged and is spreading everywhere,” Krakovsky said, referring to the Hamas-led invasion of and massacre across southern Israel on Oct. 7, 2023. “The scale and normalization of this hatred echoes the dark times we have seen before and, today of all days, we know how it ended.”
Like most countries across Europe and the broader Western world, Poland has seen a rise in antisemitic incidents over the last two years, in the wake of the Oct. 7 atrocities.
Germany has also experienced a marked surge in antisemitism, with Jewish communities and Israelis facing an increasingly hostile climate and a growing number of disturbing public provocations.
On Tuesday, workers at the Eggenfelden tax office in Bavaria, southern Germany, discovered a structure over a meter high on the premises, allegedly designed to resemble a crematorium and adorned with a swastika and SS runes. The structure also had the inscription “Zyklon B,” the pesticide used by the Nazis to carry out the mass murder of Jews in gas chambers at Auschwitz.
This latest incident coame just three weeks after a replica of the Auschwitz concentration camp gate, also covered in swastikas, was placed in front of the same tax office.
Eggenfelden’s mayor, Martin Biber, strongly condemned the incident, calling it a deeply disturbing provocation that has shocked the community.
“This shocks me. It’s also a huge disappointment that someone here is so cowardly. Quite apart from the fact that an object that is presumably meant to resemble a crematorium represents a horrific act,” Biber told the German newspaper BILD.
Local law enforcement has launched an investigation into the incident, treating it as a serious suspected extremist provocation.
The incident coincided with a commemoration held by the Israeli Embassy in Germany for the six million Jewish victims of the Nazis at the Sachsenhausen Memorial in Oranienburg, in eastern Germany.
During the ceremony, Israeli Ambassador Ron Prosor called for the resolute protection of Jewish life, warning that “antisemitism is not a relic of the past but remains visible and on the rise.”
He also emphasized that confronting the spread of terror by Iran is not solely Israel’s responsibility, warning of its expanding global reach and ideological influence.
“The mullahs are already part of the war in Europe. Their drones are falling in Ukraine. Their networks operate across continents – and their deadly ideology is spreading faster than any missile,” the Israeli diplomat said.
“Once again, Israel is on the front line. But the free world, especially Germany and Europe, has not only the responsibility, but the duty to confront this deadly ideology that threatens Europe from within,” he continued.
Andreas Büttner, the Brandenburg commissioner against Antisemitism, was also in attendance at the ceremony, where he reaffirmed the urgent need to confront and counter rising antisemitism.
“Antisemitism is not a shadow of the past. It is an open fire burning among us. And this fire is being stoked from various sides – by the extreme right, by the extreme left, and by those who disguise their hatred of Israel as moral concern,” the German official said.
According to newly released figures, the number of antisemitic offenses in the country reached a record high in 2025, totaling 2,267 incidents, including violence, incitement, property damage, and propaganda offenses.
By comparison, officially recorded antisemitic crimes were significantly lower at 1,825 in 2024, 900 in 2023, and fewer than 500 in 2022, prior to the Oct. 7 atrocities.
Officials warn that the real number of antisemitic crimes is likely much higher, as many incidents go unreported.
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Mossad Chief Says Iran Campaign ‘Will Only Be Complete When This Extremist Regime Is Replaced’
Israeli Prime Minister Benjamin Netanyahu, left, with Mossad chief David Barnea in July 2025. Photo: Israeli Government Press Office (GPO)
The head of Israel’s intelligence agency Mossad declared on Tuesday that the Israeli military campaign against Iran will end only with the collapse of the Islamist regime in Tehran.
David Barnea’s comments during a speech at a Holocaust Memorial Day ceremony came as a fragile ceasefire teetered on the brink of collapse and prospects for renewed negotiations remained uncertain.
Israel secured “significant achievements” after 40 days of intense fighting against “those who have made the destruction of the Jewish state their guiding principle,” said Barnea, who noted that the campaign had reshaped the regional security landscape.
“The Iranian threat grew stronger before our eyes, before the eyes of the world, almost without interruption,” he continued. “We repeatedly warned of the nuclear danger as an existential threat, and time and again we warned about the quantities of ballistic missiles that threaten Israeli citizens across the country, as well as the danger posed to us by the Iranian regime.”
Barnea said that Israel and its close ally the US took matters into their own hands for the good of the entire world and warned that, at least for Jerusalem, the mission isn’t done until the Iranian regime collapses.
“Finally, we took our fate into our own hands and entered two wars out of necessity. Alongside us, in firm alliance and historic cooperation with the world’s most powerful nation, we fought together for the values of justice and freedom,” the Israeli official continued. “Our commitment will only be complete when this extremist regime is replaced.”
Since Feb. 28, when the US and Israel launched joint strikes, Israeli officials have repeatedly said that, in addition to degrading Iran’s nuclear and missile programs, they aim to “create the conditions” for the regime in Iran to collapse, weakening the government to the point that the Iranian people can revolt.
US officials have not publicly adopted regime change as a declared war goal. However, President Donald Trump has at times suggested that Iranians should rise up once the airstrike campaign ends.
During Tuesday’s ceremony, Israeli Defense Minister Israel Katz also delivered a speech, saying that the US and Israel had “defined the removal of enriched material from Iran as a threshold condition for ending the campaign.”
“Iran’s regional proxies — from the collapsed Syrian regime to Hezbollah and Hamas — have been dealt heavy blows and have lost their capacity to pose a strategic threat to Israel,” Katz said. “There remains the task of confronting the rest of their power, and we are doing so — and will continue to do so — with full commitment and full force.”
On Monday, Israel Defense Forces (IDF) Chief of Staff Lt. Gen. Eyal Zamir approved plans to escalate the military campaign against Iran and advance expanded operational planning across multiple arenas in the region if the ceasefire ends, signaling continued pressure on Tehran’s military and strategic infrastructure.
“We are facing a multi-theater campaign unprecedented in the history of our people and of nations — against both immediate enemies on our borders and distant adversaries seeking our destruction,” Zamir said. “We are striking Iran and its proxies, inflicting heavy blows and significantly degrading their military capabilities.”
With the ceasefire deadline approaching in a week and regional tensions escalating, Trump said the White House has received a request from “the appropriate parties” to resume talks, adding that the Iranian regime is seeking to renew negotiations and reach an agreement.
“Iran will not have nuclear weapons. We agreed on a lot of things, but they did not agree to that. And I think they will agree to that. I am sure of it. If they do not agree – there will be no agreement,” Trump wrote in a post on Truth Social.
According to The New York Times, US officials have proposed a 20-year halt to Iranian uranium enrichment, which Iranian negotiators countered with a five-year suspension that Washington rejected, while also reportedly insisting that Iran dismantle major enrichment sites and surrender more than 400 kilograms of highly enriched uranium.
Meanwhile, Pakistan has offered to host another round of US–Iran negotiations in Islamabad in the coming days before the ceasefire expires, as diplomatic efforts intensify to prevent a renewed escalation.
The Trump administration has also stepped up pressure on Tehran to accept its demands by imposing a naval blockade on vessels entering or leaving Iranian ports through the Strait of Hormuz, a critical global shipping chokepoint for energy supplies.
Since the start of the war, Iran has used control over the Strait of Hormuz as a major source of leverage, militarizing the waterway and sharply restricting maritime traffic through one of the world’s most critical shipping corridors.
Iranian officials warned they would retaliate against any US naval blockade targeting their ports, calling the move illegal and warning that Gulf shipping routes would no longer remain secure if Iranian access were restricted.
Responding to Iranian threats in a post on Truth Social, Trump said, “If one of these boats approaches the blockade, it will be eliminated immediately, using the same elimination method that we use against drug smugglers at sea. It will be fast and brutal.”
Iran has also signaled it intends to maintain control over the Strait of Hormuz even after the war ends, potentially imposing transit fees framed as compensation for wartime damage.
Following the latest escalation at sea, Israel had instructed its forces to maintain a high level of alert and prepare for the possibility of an immediate collapse of the ceasefire agreement, remaining on heightened readiness in case the truce breaks down and talks do not resume.
Israeli officials have said they do not rule out that Iran may be using the ceasefire to rebuild damaged air defense systems and restore military capabilities, while also attempting to bring weapons and sensitive technologies back into the country through overland smuggling routes.
Meanwhile, Iran appears to still be targeting Gulf states despite the ceasefire, with Bahrain intercepting seven Iranian drones in the past 24 hours in what officials described as a clear breach of the agreement.