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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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Minnesota man charged with ISIS-inspired plot on Jewish-owned Mall of America
(JTA) — The FBI accused an 18-year-old man of buying an AK-47 assault rifle with plans to commit a mass shooting in support of ISIS at the Mall of America in Bloomington, Minnesota, the largest indoor shopping mall in North America.
Sheikhdoon Abdullahi Mohamud, of Richfield, Minnesota, was charged on Wednesday with one count of knowingly receiving a firearm and ammunition in order to commit a federal crime of terrorism, according to a federal complaint filed on Wednesday.
Mohamud’s attorney did not respond to JTA’s request for comment.
Mohamud wanted to attack the Mall of America because he believed its owners to be Jewish, the FBI said in a statement. He planned to kill between 30 and 60 people, according to messages he exchanged with a confidential source, according to the complaint.
Mall of America is owned and operated by Triple Five Group, controlled by the Ghermezian family, a Canadian family of Iranian Jewish origin.
Messages sent in September 2026 included a video in which Mohamud pledged allegiance to ISIS, the complaint said. He planned his attack for Oct. 24 because he expected a crowd at the Hmong Arts Celebration scheduled for that day.
The complaint said an undercover FBI agent sold an AK-47 rendered inoperable, four 30-round magazines and 200 rounds of ammunition to Mohamud for $600 on Oct. 6. During the sale, Mohamud confirmed his plans to commit a mass shooting. Mohamud was arrested shortly after the sale.
The complaint said Mohamud wanted to commit an attack similar to the 2016 Pulse nightclub shooting in which 49 victims were killed; the Bondi Beach mass-shooting in Sydney last December, during which 15 victims were killed during a Hanukkah celebration; and a New Orleans truck-ramming attack that killed 14 victims in New Orleans on Jan. 1, 2025.
The investigation into Mohamud began around December 2024, when he messaged the confidential source on multiple social media platforms, according to the complaint, detailing his desire to travel to Somalia to join a group that the U.S. has designated a foreign terrorist organization. If travel was not possible due to financial constraints, he said would move forward with an attack in Minnesota.
This article originally appeared on JTA.org.
The post Minnesota man charged with ISIS-inspired plot on Jewish-owned Mall of America appeared first on The Forward.
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Is Israel or Iran a bigger threat to the U.S.? Michigan’s Abdul El-Sayed won’t say
(JTA) — Michigan Democrat Abdul El-Sayed was asked multiple times by a debate moderator on Thursday which country he considers a bigger threat to the U.S.: Iran or Israel.
Each time, he parried.
“That’s a ridiculous hypothetical because here’s what’s happening right now: Our ostensible ally in Israel has lobbied us to go to war with Iran,” said El-Sayed, Michigan’s Democratic nominee for U.S. Senate.
“I don’t consider an ally a country that takes us to wars we don’t need to fight, and I don’t want to be fighting wars we don’t need to fight,” he added, describing both as “kind of dangerous.” Another attempt yielded a similar response, with El-Sayed denouncing “one at risk of attacking us, one getting us into wars we have no business fighting.”
El-Sayed, a former county health official, was responding to a question repeatedly posed by WOOD TV8 political reporter Rick Albin, in a debate against his Republican opponent, former U.S. Rep. Mike Rogers. The two candidates hurled insults at each other during the hourlong discussion, often returning to issues related to Israel and the Middle East.
After making criticism of Israel a top issue in his primary campaign, El-Sayed eked out a victory against U.S. Rep. Haley Stevens in that early August race. Although he has earned the support of many democratic socialists, including Vermont independent Sen. Bernie Sanders, El-Sayed has stated that he is not a member of the Democratic Socialists of America.
Rogers, on the other hand, has the official endorsement of President Donald Trump. However, the candidate has been distancing himself from the president, including by criticizing the trade war with Canada.
Results of a CBS News poll published earlier this week showed El-Sayed leading Rogers, by 45.6% to 41.4%, with a 3.8% margin of error. A Quantus Insights poll released on Wednesday, meanwhile, gave El-Sayed a slightly narrower lead, with 47.6% to Rogers’s 46.5%, and a 7.8% margin of error.
While El-Sayed has been meeting with Jewish voters and leaders, he has not budged on certain issues of concern to many Jewish voters. For example, he has indicated only a willingness to recognize Israel’s identity as a Jewish nation-state if Israelis and Palestinians jointly agree to it..
Liberal Michigan rabbis last month signed a petition from the Zioness Action Fund, a progressive Zionist group, calling upon the Democratic Party to agree to “nonnegotiable” principles related to Jewish safety and Israel. A separate cohort of Michigan Jewish leaders urged community members to reject El-Sayed entirely.
Rogers and his representatives in August indicated that they would like AIPAC to refrain from spending directly on him in the general election, according to media reports. Asked about this at the Thursday debate, he said he’d welcome “anybody that wants to help my campaign stop a guy who can’t condemn terrorism in our own country.”
El-Sayed condemned the March attack on Temple Israel in West Bloomfield Township, but added that “hurt people hurt people,” which critics interpreted as justifying the attacker’s actions. He later apologized for those remarks.
Rogers has repeatedly slammed his opponent for taking funds from donors affiliated with the Council on American-Islamic Relations, the Unity & Justice Fund super PAC and other groups and individuals.
El-Sayed, on the other hand, accused Rogers on Thursday of accepting corporate PAC money and labeled him the “guy who’s going to rubber stamp everything Donald Trump tells him to rubber stamp.”
The two candidates criticized each other’s policies and interrupted each other so often that Albin, the moderator, needed to step in.
“We’ve got dozens of questions we want to get to,” Albin said. “You can’t litigate all of these with 14 different rebuttals.”
Even prior to a pause for ads, Albin announced that the station is going “to take a break from this pleasant conversation.” When they returned, he declared that “in 30 years of doing debates, I’ve never seen it continue during the commercial, but it did.”
The candidates continued to clash over Iran, with El-Sayed accusing the U.S. government of teaching “the Iranian regime that they had a choke [hold] on the Strait of Hormuz.”
“That’s the kind of policy you’re going to get from a guy who wants to be a sock puppet for the Trump administration,” El-Sayed added.
Rogers, meanwhile, claimed that the U.S. had set back Iran’s nuclear program by at least 20 years, adding that “this would be the time to wrap it up.”
As for Israel, Rogers said he supports “the right to exist for the Jewish state, and the right to defend itself in a very difficult neighborhood.” The only way Israel could lose his support, Rogers stated, would be if the country talked about using nuclear weapons.
Israel is widely assessed to possess an arsenal of approximately 90 nuclear warheads, according to the Stockholm International Peace Research Institute. The country is not a party to the Nuclear Non-Proliferation Treaty. Israel has never acknowledged possessing nuclear weapons.
Albin then turned to El-Sayed, noting the politician’s opposition to direct U.S. military funding for Israel. He asked, however, whether that position could change “if Israel were attacked tomorrow by Iran or another state actor.”
“I want our tax dollars spent here,” El-Sayed responded. “Israel has pushed us to go to war in Iran, and of course, my colleague, who thinks there’s a war for everything, went right along with it.”
When Albin pushed again for a yes or no answer, El-Sayed replied that he doesn’t want the U.S. “buying weapons for other countries.”
Toward the end of the discussion related to the Middle East, Rogers recognized the third anniversary of the Oct. 7, 2023, Hamas attack on Israel. He blasted his opponent for failing “to even acknowledge the pain, the terrorism, the rape, the murders.”
To this accusation, El-Sayed responded, “I’ve condemned that. I didn’t turn it into theater like you did.”
This article originally appeared on JTA.org.
The post Is Israel or Iran a bigger threat to the U.S.? Michigan’s Abdul El-Sayed won’t say appeared first on The Forward.
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Ossoff says IDF violated law of armed conflict in Gaza, but genocide is an issue for international courts
(JTA) — Democratic Sen. Jon Ossoff and Republican challenger Rep. Mike Collins clashed over Israel’s conduct in Gaza, U.S. weapons sales to Israel and the war in Iran during Thursday’s debate in Georgia’s closely watched Senate race.
The race could help determine control of the Senate, with implications for U.S. policy toward Israel.
The incumbent Ossoff, who is Jewish, has long supported Israel’s security, but over the last two years he has criticized its conduct in the Gaza war and voted to block some U.S. arms sales to the country.
A day after the third anniversary of the Oct. 7 Hamas-led attack, Ossoff was asked whether Israel had committed genocide in Gaza, whether he was concerned about growing anti-Israel sentiment within the Democratic Party and whether he would support a proposed $2.8 billion U.S. weapons package for Israel.
“The question of genocide is a question of whether a government has the specific intent to destroy a national or ethnic group, and that is a question for the International Criminal Court,” Ossoff responded. “There is no doubt in my mind that Israeli forces prosecuting the war in Gaza violated the law of armed conflict and international humanitarian law, and I care deeply about the security of the Israeli people, among whom are members of my family.
“I also care about innocent Palestinian life,” Ossoff continued, “and make no apology for my votes.”
Collins accused Ossoff of having aligned himself with anti-Israel figures including Twitch streamer Hasan Piker and Michigan U.S. Senate candidate Abdul El-Sayed.
“Imagine being a U.S. senator, and out there recruiting, endorsing, and supporting these people that want to see Israel wiped off the map,” Collins said. “They would rather be for Iran than for Israel — now that’s who Jon Ossoff is supporting.”
Piker had previously called Ossoff a possible contender for the 2028 Democratic presidential nomination. He subsequently disavowed Ossoff after the senator condemned antisemitic comments, Jewish Insider reported in August.
During the hourlong debate, Ossoff repeatedly condemned the U.S. war in Iran while highlighting Collins’ support for it. At least three times Ossoff called the war in Iran a “disaster” or “disastrous,” and he blamed the war for rising gas prices in the state of Georgia.
Collins, on the other hand, said he supported the war as necessary to prevent Iran from obtaining nuclear weapons. “The president had every right to go in there and make sure that Iran does not get a nuclear weapon,” Collins said. “The IAEA [International Atomic Energy Agency], they had already sounded the bells, the alarms that Iran was close to getting a nuclear weapon. And the thing is, Iran doesn’t only want to decimate and kill Israel, they want us as well.”
The evening was not without its personal attacks. Collins described Ossoff as “a radical” and a “trust-fund kid who has never had a job in his life,” while Ossoff repeatedly spotlighted the alleged ties between Collins and white nationalists. A recent report alleged that Collins’ former aides were involved with antisemitic and white nationalist rhetoric.
Ossoff leads Collins by about nine percentage points in FiftyPlusOne’s polling average as of Oct. 9.
The candidates are scheduled for a second debate hosted by the Atlanta Press Club on Oct. 13.
This article originally appeared on JTA.org.
The post Ossoff says IDF violated law of armed conflict in Gaza, but genocide is an issue for international courts appeared first on The Forward.
