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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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Ro Khanna and Thomas Massie team up to strip US-Israel military tech cooperation from defense bill
(JTA) — In one of the latest examples of political extremes converging over Israel, Reps. Ro Khanna and Thomas Massie joined forces this week to challenge a provision expanding U.S.-Israel defense cooperation.
Khanna, a progressive California Democrat, and Massie, a Kentucky Republican, both said over the weekend that they would seek to remove a provision from the House’s annual defense bill that would expand U.S.-Israeli defense technology cooperation.
“If the provision in the NDAA to integrate/synchronize the U.S. and Israeli militaries (section 224) makes it out of committee, I’ll offer an amendment to strip it from the bill on the floor,” Massie, who lost his bid for reelection last month against a President Donald Trump-endorsed primary opponent, wrote in a post on X. “We are a sovereign country…”
The section of the National Defense Authorization Act for 2027 that Khanna and Massie have taken aim at would require the Secretary of Defense to designate an “executive agent responsible for synchronizing cooperative efforts between the United States and Israel, including bilateral defense technology research, development, testing, evaluation, integration, and industrial cooperation.”
The cross-ideological alliance marked the latest instance of the progressive Democrat and libertarian Republican finding common cause on Israel-related foreign policy, after the pair previously teamed up to oppose U.S. involvement in Israel’s war in Iran last year.
The pledge by Massie, a leading anti-Israel Republican in Congress, was quickly joined by Khanna, who has been staunchly critical of Israel’s conduct during the war in Gaza and recently opposed American funding for Israel’s Iron Dome defense system.
“And I will be offering an amendment in the committee itself to strip section 224 out, @RepThomasMassie,” Khanna wrote in a post on X. “Trump can’t kill the Massie/Khanna partnership no matter how much he posts on Truth Social.”
Khanna lamented Massie’s primary loss on NBC’s “Meet the Press” last month, telling the outlet that he had been “taken out” because of the pair’s collaboration on opposing the war in Iran and the Epstein Transparency Act.
“Thomas is a real friend. He’s a good man, and he was taken out for two reasons,” Khanna said. “One, he had the courage to go after some very powerful people in working with me to get the Epstein Transparency Act passed. As he mentioned, that’s historic bipartisan legislation that finally got justice for the survivors, and he had people spend millions of dollars, and had the President of the United States after him. And second, he worked with me to stop this war in Iran.”
The post Ro Khanna and Thomas Massie team up to strip US-Israel military tech cooperation from defense bill appeared first on The Forward.
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Hasan Piker blames Israel after UK bars him from entry, citing ‘potential risk’
(JTA) — Leading British Jewish groups are applauding the UK government’s decision to bar the influential anti-Israel streamer Hasan Piker as well as his controversial uncle Cenk Uygur from entering the country.
The British interior ministry revoked Piker’s and Uygur’s travel authorizations on Monday, saying in a statement that “their presence in the UK may not be conducive to the public good.”
The ministry’s statement did not specify its concerns about the men but added that decisions to refuse or cancel ETAs are based “solely on an assessment of the potential risk an individual may pose to UK society.”
The revocations follow advocacy by Jewish groups against Piker’s planned appearance this week at the South by Southwest London festival, where he was due to speak on “How the American Left Learned to Speak the Internet.”
A number of Jewish groups urged the government to block Piker’s entry. The Community Security Trust said that he “has a record of promoting rhetoric that includes antisemitic themes, denial of well documented atrocities and apparent support for extremist groups.” Last week, a lawmaker from the Labour party, David Taylor, publicly called on the Home Office to revoke Piker’s visa.
Piker has also drawn sharp opposition from U.S. Jewish groups in recent months, as he has played an increasingly prominent role in advocating for progressive Democrats. His critics note that he has said he prefers Hamas to Israel and said “I don’t have an issue” with Hezbollah. Hamas and Hezbollah are considered terrorist groups under UK law.
In social media posts, both Piker and Uygur blamed Israel for their being barred from entering the UK.
“I’ve been banned for criticizing Israel. Are we free anymore?” Uygur tweeted, in one of multiple posts making the claim. “This is oppression of Western citizens by our own governments on behalf of a different country!” He later said it was “an honor to have made Israel’s enemies list.”
Piker responded to his uncle’s post on X, saying, “The uk has revoked my visa as well. all at the behest of israel. the west is betraying ‘liberal values’ for a genocidal fascist foreign government. soon we will all become Israel.”
The revocations come as the British government is under extreme pressure to demonstrate strong opposition to antisemitism, following a string of attacks that have unsettled British Jews. In recent weeks, the government has allocated new resources for security in Jewish communities and canceled the travel authorization for Ye, the American musician with a history of antisemitic remarks and a recent single called “Heil Hitler.”
Multiple Jewish leaders said they were pleased that the government had moved to block Piker’s entry.
“The government is right to ban those who seek to spread hatred from entering the UK,” the Jewish Leadership Council’s director of public affairs, Russell Langer, said in a statement. He added, “When Jews are being stabbed on the streets of London and Manchester, we should not be importing more antisemitism into this country.”
The acting president of the Board of Deputies of British Jews, Adrian Cohen, applauded the decision in a statement. “Where there is clear risk of individuals breaking UK laws and stoking community tensions, by showing support for banned terrorist groups or inciting hatred, and where event organisers have failed to show responsibility, it is right that government step in,” he said.
And the CST said that while criticizing Israel can be legitimate, Piker had exceeded the bounds of acceptable discourse.
“There must be consequences when public figures cross into hate speech,” the group said in a statement. “Piker has a record that goes far beyond robust or controversial political speech, including rhetoric that contains antisemitic themes, the denial of well-documented atrocities and language that risks fuelling antisemitism.”
The interior ministry said anyone who has an ETA revoked can apply for a visa, which would afford them a reconsideration.
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New York’s Israel Day parade was a shanda — but not because of Mamdani
Mayor Zohran Mamdani made the right decision in skipping the city’s annual Israel Day Parade — because of the specific Israeli officials the parade honored.
American Jews have the right to celebrate Israel’s existence, if they find it to be a meaningful part of their personal Jewish identities. But Mamdani’s specific decision not to march in this specific parade, this year, alongside far-right ministers Bezalel Smotrich, Amichai Chikli and Ofir Sofer, is defensible. Those painting that choice as a sign of antisemitism have a lot of explaining to do about whose company they choose to keep.
Chikli, Israel’s minister of diaspora affairs and combating antisemitism — the man who is supposed to be the voice of diaspora Jews in Israel — has used his platform to spread hatred. He has described LGBTQ+ Pride events as “disgraceful vulgarity”; courted far-right European extremists like Tommy Robinson while parroting their Islamophobic statements; and called antisemitic dog whistles deployed against George Soros by the like of Elon Musk “anything but antisemitism” — while serving as the minister tasked with combating antisemitism.
His behavior has been so outrageous that in 2025, hostage families and Jewish community leaders across Europe signed letters calling him an “inappropriate representative,” citing his statements calling for the expulsion of people from Gaza and southern Lebanon, which they said amounted to support for ethnic cleansing.
Smotrich’s record of inflammatory statements is even more extensive. In 2023, he called for the Palestinian village of Hawara in the West Bank to be destroyed by the state, saying “I think the village of Hawara needs to be wiped out” shortly after a shocking settler attack there that some compared to a pogrom. The United States State Department decried those remarks as “repugnant” and “disgusting.”
Smotrich has since called for Gaza to be emptied of its Palestinian population, and has spearheaded the radical expansion of Israeli settlements in the West Bank, advocating for annexation with the explicit intent of preventing the establishment of a Palestinian state. He himself says the International Criminal Court’s Office of the Prosecutor has reportedly filed a secret arrest warrant application against him for alleged war crimes and crimes against humanity in the occupied West Bank.
At the Sunday parade, Smotrich approvingly told attendees that the event reminded him of the Jerusalem Flag March, an ultra-nationalist procession where participants this year chanted “Death to Arabs” and attacked Palestinian residents.
And Ofir Sofer, Israel’s immigration and absorption minister, has called for changes to Israel’s Law of Return, complaining that many new immigrants to Israel are not Jewish under Orthodox halachic standards. His vision of Israel includes no room for Reform Jews, secular Jews or partial-heritage Jews.
These are the people Mamdani was supposed to join in celebration?
Mamdani did not refuse to celebrate Jewish life. He refused to endorse these deeply problematic Israeli officials by appearing alongside them. That is not a slap in the face to Jewish New Yorkers. It is, if anything, a gesture of respect toward the many Jewish New Yorkers, including me, who find Chikli, Smotrich and Sofer an embarrassment and a threat to the diverse, pluralistic, egalitarian Judaism we actually practice.
Mamdani has stated clearly that he believes Israel has a right to exist, although not as a hierarchy that favors Jewish citizens over others. He has backed his administration’s Office to Combat Antisemitism and proposed expanded funding for hate crime prevention. He guaranteed a robust police presence at the Israel parade, spending weeks planning to ensure it proceeded, in his words, “seamlessly and peacefully” — as it did.
None of this fits the profile of an antisemite.
And those who criticized Mamdani’s refusal to participate are failing to grapple with an important truth: Mamdani’s politics, whatever one thinks of them, are not alien to American Jewish life. They are, instead, increasingly central to it.
A poll by the Jewish Voter Resource Center, released just this week, found that almost half of American Jews under 35 support a binational state: a single country in Israel, the West Bank and Gaza, governed by all its inhabitants together. Among non-Orthodox Jews under 35, that figure reaches 51%.
This is not a fringe position on the left flank of the community. It is a near-majority position among the next generation of American Jews. Add to that the fact that a 2025 survey by Jewish Federations of North America — not a left-wing organization — found that only 37% of American Jews overall identify as Zionist at all, while among young Jews aged 18 to 34, the share identifying as anti-Zionist or non-Zionist has reached nearly a third.
As J Street president Jeremy Ben-Ami put it: “The growing disaffection of younger Jewish Americans from Israel is a direct consequence of the policies of Bibi Netanyahu and the way the American Jewish establishment has demanded an ‘Israel right or wrong’ loyalty.”
When we ask whether Mamdani’s absence alienates Jewish New Yorkers, we need to ask: which Jewish New Yorkers? Did Mamdani marginalize himself from American Jewish life — or did the parade organizers, by welcoming these ministers, marginalize themselves from a large and growing portion of it?
The questions at the heart of this controversy — what Zionism means, whether anti-Zionism is compatible with Jewish solidarity, and how to honor Israeli independence while acknowledging Palestinian catastrophe — are genuine, difficult and deeply contested. I have colleagues I respect on multiple sides. I have family members who would disagree with everything I have written here.
But a parade is the worst possible venue for this conversation. A parade is not a symposium. It is not a town hall. It is a celebration, a statement of solidarity, an embodiment of a particular political position. Attending it is an endorsement of that position. And when the parade features ministers who demean Reform Jews, court European neo-fascists, advocate for the further reduction of Palestinian rights and liberties, and favor restricting who counts as Jewish enough to return to a Jewish state, the act of marching becomes an endorsement of those things, too.
We do need richer, more honest, more nuanced conversations about Zionism, anti-Zionism, Israel, and diaspora Jewish identity. Those conversations are happening, in synagogues, in classrooms and in the pages of Jewish publications like this one. They deserve serious venues and serious interlocutors.
Fifth Avenue on a Sunday afternoon, with Chikli, Bezalel and Sofer as honored guests, is not that venue.
Mamdani was right to decline to issue that endorsement. To the Jewish establishment that has called him an antisemite for it: I would ask you, with all due respect, to look again at who you invited to the party.
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