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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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80 Years After the Holocaust, Did Antisemitism Disappear? Or Did Anti-Zionism Replace It?
A German and Israeli flag fly, on the day Chancellor Friedrich Merz meets with Israeli President Isaac Herzog for talks, in Berlin, Germany, May 12, 2025. Photo: REUTERS/Liesa Johannssen
There is a comforting narrative circulating in Western discourse. It insists that the surge of anti-Israel activism we see today is nothing more than political engagement. We are told it is about policy disagreements, about borders, about governments and human rights. We are assured it has nothing to do with Jews as Jews.
Yet over and over again, the façade cracks. Beneath the slogans and hashtags, something much older surfaces. What presents itself as principled opposition to a state too often reveals itself as hostility toward a people.
For centuries, Jews have been blamed for calamities that had nothing to do with them. During the Black Death in medieval Europe, Jewish communities were accused of poisoning wells and spreading plague. These lies triggered massacres. In times of disease and social instability, fear sought an outlet and found it in the Jewish minority.
The pattern did not end there. Blood libels claimed that Jews murdered Christian children to use their blood in religious rituals. Jews were portrayed as shadowy financiers manipulating global markets, engineering wars, and controlling governments. These were not fringe ideas whispered in dark corners. They were preached from pulpits, embedded in political rhetoric, and woven into cultural narratives.
The consequences were catastrophic. The expulsions from European kingdoms. The pogroms that swept across Eastern Europe and parts of the Middle East all the way up until the 1900s. The 1929 massacre in Hebron, where Jews were slaughtered in their homes. And ultimately the Holocaust, orchestrated by the Nazi regime under Adolf Hitler, in which six million Jews were systematically murdered. Each era insisted it was responding to some new threat. Each era recycled ancient accusations.
Many antisemites now claim they only oppose Israel — but are we really supposed to believe that 80 years after 1/3 of every Jew on Earth was murdered, that antisemitism has disappeared and this is all about Israel?
Modern terrorism continued the pattern. At the 1972 Munich Olympics, members of the Israeli team were murdered in cold blood. In 1985, during the hijacking of the cruise ship Achille Lauro, a Jewish passenger was singled out and killed. In 1976, Jewish hostages were separated from others in Entebbe before a dramatic rescue operation. And on October 7, 2023, Israeli civilians were massacred in their homes, children were abducted, and elderly people were dragged into Gaza by Hamas. Once again, Jews were targeted not for what they had done as individuals, but for who they were.
Each time, the world proclaims never again. Each time, hatred finds new language.
That’s why most “anti-Zionism” is just antisemitic logic repackaged for the digital age.
The intellectual dishonesty extends further. Marginal sects such as Neturei Karta are frequently showcased as the authentic voice of Judaism because they oppose the State of Israel. This tiny, fringe group does not represent mainstream Jewish communities in Israel or the Diaspora. Yet their images are amplified to suggest that “real Jews” reject Jewish self determination. It is not an honest engagement with Jewish diversity. It is a strategy to legitimize hostility.
In online spaces, the pattern is unmistakable. Comment sections filled with recycled tropes about Jewish control of media, finance, and politics are everywhere. Every geopolitical development is reframed as evidence of a hidden Jewish hand. Emotional accusations drown out factual context. In the age of algorithms, outrage spreads faster than correction. A sensational claim travels further than a careful explanation.
None of this means that Israel is beyond criticism. But there is a difference between criticism and much of what is happening now.
The State of Israel was established after centuries in which Jews lacked sovereignty and paid for that vulnerability with blood. It emerged in the aftermath of the Holocaust, when the absence of refuge proved fatal. To reduce its existence to colonial ambition is to erase Jewish history and the lived reality of exile, persecution, and statelessness.
Antisemitism disguised as anti-Zionism is not diminishing. It is intensifying across university campuses, in activist movements, and in mainstream conversation. The vocabulary may sound modern, but the underlying message echoes the past. Jews are uniquely malevolent. Jews are collectively responsible. Jews are the problem.
The antidote is not censorship but clarity. Historical literacy matters. Facts matter. Calling out antisemitic tropes when they appear, even when wrapped in fashionable language, is not an attempt to silence dissent. It is a defense of truth and moral consistency.
The lesson of history is neither abstract nor distant. When antisemitism is trivialized or excused, it spreads. When it is confronted with moral seriousness and factual rigor, it loses legitimacy. If we are sincere in our commitment to a world where Jews are not scapegoats for every crisis, then we must recognize that anti-Zionism too often serves as the latest vessel for the oldest hatred.
The responsibility to say so belongs to all of us.
Sabine Sterk is the CEO of Time To Stand Up For Israel.
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Israel, AIPAC Take Center Stage in Competitive US Congressional Primary
Aug. 12, 2025, Chicago, Illinois, US: Daniel Biss, mayor of Evanston, Illinois, attends a rally at Federal Plaza in Chicago after the announcement that the Trump administration has unilaterally ended the collective bargaining agreement with federal unions. Photo: Chicago Tribune via ZUMA Press Wire via Reuters Connect
Leading candidates in a hotly contested open-seat Democratic primary for US Congress are dueling over support for Israel and the country’s largest pro-Israel lobbying group, which have become key focal points of the race.
Tensions have been simmering for months but escalated after a super PAC known as Elect Chicago Women — which is reportedly supported by donors tied to the American Israel Public Affairs Committee (AIPAC) — began airing its first attack ad in Illinois’ 9th Congressional District last weekend. The ad accused progressive Evanston Mayor Daniel Biss of being “willing to say anything to get elected.”
Elect Chicago Women has spent hundreds of thousands of dollars on broadcast television attacking Biss and more than $2 million boosting moderate state Sen. Laura Fine, according to federal filings.
The political action committee has not publicly disclosed its donors ahead of the primary, fueling complaints from Biss and other candidates about covert influence in the contest.
In a statement on Sunday, the Biss campaign stated that voters “won’t be fooled by these slimy dark money ads, and they won’t allow right-wing special interests to pick our next member of Congress.”
The next day, Biss released an attack ad targeting Fine for receiving money from supporters of AIPAC, which Biss’s campaign described as a “Trump-aligned, pro-Netanyahu” group, referring to US President Donald Trump and Israeli Prime Minister Benjamin Netanyahu. The ad also said that AIPAC was aligned with “MAGA,” or Trump’s Make America Great Again movement.
AIPAC is a prominent lobbying group that seeks to foster bipartisan support for the US-Israel alliance. Despite making bipartisanship a key tenet of its work, AIPAC has in recent years become a favorite target of left-wing, Democratic activists and politicians.
Before the latest dueling ads, the clash in Illinois’ 9th District spilled into a candidate forum hosted by the Pink Poster Club last week in Evanston, where contenders were asked directly whether they accept contributions from AIPAC or longtime AIPAC supporters.
Fine was the only candidate on stage to say yes. She clarified that she has not received money directly from AIPAC itself but has accepted donations from individuals who support the group, as well as from some Republican donors. AIPAC has not formally endorsed any candidates in the race.
Nonetheless, Biss seized on Fine’s distinction, arguing that Democratic voters should question why right-leaning and pro-Israel special-interest donors are investing heavily in a Democratic primary. He has framed the super PAC spending as an attempt by outside forces to purchase the seat and shape the district’s representation on foreign policy.
Fine was also the sole candidate last week to respond “yes” to supporting continued military assistance for Israel.
Other rivals echoed concerns about transparency and influence, but it was Biss who most forcefully made policy toward Israel and AIPAC-aligned spending a centerpiece of his critique.
Fine has pushed back, saying the attacks mischaracterize both her record and her motivations. She points to her legislative work in Springfield on issues such as abortion rights, health-care access, and environmental protection, arguing that her support is grounded in her progressive credentials.
She has also emphasized her longstanding ties to the local Jewish community, a significant constituency in the district, and said backing from pro-Israel donors reflects shared values, not outside control. Supporters argue that strong US–Israel relations are a mainstream Democratic position and that accepting donations from pro-Israel individuals does not conflict with progressive priorities.
Fine and her campaign have denied any coordination with outside groups and contend that Biss is unfairly singling out Jewish and pro-Israel donors for political gain. Moreover, Fine has taken aim at Biss for his supposed connections with conservative donors.
“Daniel Biss has relied on Republican donors for years and voters are sick of politicians who say whatever it takes to win an election,” Fine’s campaign said in a statement.
At last week’s forum, Fine said she was “sick and tired of being Dan-splained,” noting that Biss met with AIPAC officials multiple times before rebuking their involvement in the race.
“When they said, ‘We don’t trust you,’ he changed his tune again. And that’s not a surprise, because he’ll tell one group one thing and another group another,” Fine said.
Another candidate in the race, Kat Abughazaleh, a 26-year-old Palestinian-American social media personality who has repeatedly accused Israel of so-called “genocide” in Gaza, also slammed Biss for previously meeting with AIPAC officials.
Biss currently leads the primary with 24 percent support among voters, according to a new poll commissioned by the Evanston RoundTable and conducted by Public Policy Polling, a firm affiliated with the Democratic Party. He was followed by Abughazaleh at 17 percent and Fine at 16 percent, with nearly a quarter of voters still undecided.
In the open competition to replace retiring Democratic Rep. Jan Schakowsky, Fine has sought to establish herself as the most Israel-friendly candidate, stressing the importance of Israel’s self-defense and the importance of continuing the American alliance with the Jewish state.
Biss, who is Jewish, has taken a harsher stance against Israel, issuing sharpened criticisms of the Jewish state’s conduct in Gaza. Though Biss has stated that he supports Israel and has expressed desire for continuing the alliance between Washington and Jerusalem, he has condemned the Netanyahu government and called for increased restrictions on US military aid. However, the mayor also spent large stretches of his childhood in Israel and has expressed a generally positive sentiment toward the nation and its people.
Nonetheless, Biss has promised not to accept any funding or support from AIPAC, accusing the prominent lobbying group of having “MAGA-aligned donors” and arguing that accepting its support would force him to “compromise” his progressive values.
Last month, US Rep. Tim Walberg (R-MI), chairman of the House Committee on Education and the Workforce, penned a letter demanding answers from Biss, accusing him of failing to protect Jewish students during a pro-Hamas, anti-Israel encampment at Northwestern University that, lawmakers say, devolved into widespread antisemitic harassment and violence. Northwestern’s campus is located in Evanston.
Illinois’ 9th District, long represented by progressive stalwarts, is heavily Democratic and includes Evanston and Chicago’s North Side. In such a deep-blue seat, the winner of the March primary will be the overwhelming favorite to win the general election.
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IDF Base Sports Center Destroyed in Oct. 7 Attack Reopens as Part of Multi-Million Dollar Rebuilding Project
Inside the reconstructed sports complex at the Israel Defense Forces’ Re’im Base during its reopening ceremony on Feb. 24, 2026. Photo: FIDF
A sports center and gym at the Israel Defense Forces (IDF) base in Re’im, Israel, reopened on Tuesday after being infiltrated on Oct. 7, 2023, by Hamas-led terrorists, who used the facility to plan further attacks against Israelis before it was ultimately destroyed.
The sports center at the IDF base in Re’im, which serves as the military’s Gaza Division headquarters, was reconstructed and reopened as part of a NIS 23 million ($7.44 million) project to restore facilities destroyed during the deadly massacre across southern Israel. The facility was rebuilt from the ground up and now includes a state-of-the-art fitness gym and indoor basketball arena. A mezuzah was placed on the doorpost of the center during its reopening ceremony on Tuesday and a commemorative plaque was unveiled.
A project to make the base fully operational again was led by Friends of the Israel Defense Forces (FIDF) and the Association for Israel’s Soldiers (AFIS). The sports center’s original construction was funded by donors from FIDF’s New York Tristate Area Real Estate Affinity Group, who united after the Oct. 7 attack to launch its rebuilding. Marty Berger, co-chair of the group, spoke at the center’s reopening on Tuesday.
“I remember when we first built this gym and facility and coming back over the years to see how much they meant to you,” he told IDF solders and FIDF supporters in attendance. “When we returned in December 2023, just two months after Oct. 7, we saw the damage and the bullet holes throughout the gym and fitness center. It was heartbreaking, but we also saw how the Gaza Division re-emerged ready to defend Israel with strength and determination and we vowed to rebuild it. To see this place rebuilt and to have played a small part in restoring it is deeply humbling.”
Hamas-led terrorists infiltrated the IDF base on Oct. 7, 2023, and used the sports center as their own center for operations, where they planned further attacks on IDF soldiers and their families on base. When IDF special forces closed in and tried to regain control of the base, the terrorists used the gym as the site for their final stand-off. The IDF ultimately ordered an airstrike against the terrorists, which completely destroyed the building. Many of the military base’s structures were also damaged in the Oct. 7 attack and considered unusable.
“Rehabilitating [the] Re’im base is a true mission, stemming from the inseparable bond between the Jewish community in the United States and IDF soldiers,” said FIDF CEO Maj. Gen. (Res.) Nadav Padan. “The reconstruction of the sports center and other welfare facilities symbolizes the determination to restore routine, stability, and a place that enables soldiers to continue their mission with a sense of security and pride. We stand alongside the soldiers of the Gaza Division today and in the future, with full and ongoing commitment.”
“The completion of this rehabilitation project is not only the rebuilding of structures but also symbolizes the end of a complex period and the beginning of a new path for the soldiers and commanders at Re’im base,” added AFIS CEO Col. (Res.) Shari Nechmias-Carmel. “It is an expression of life, spirit, and hope returning to the base, and of our commitment to providing those who serve there with a dignified environment that is strengthening and secure.”
The NIS 23 million reconstruction project also includes the restoration of the military base’s synagogue, library, health clinic, and other structures damaged during the Oct. 7 attack.