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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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Two Men Jailed in UK for Islamic State-Inspired Plot to Kill Hundreds of Jews
Weapons seized from the home of Walid Saadaoui, 38, who along with Amar Hussein, 52, has been found guilty at Preston Crown Court of plotting to kill hundreds in an Islamic State-inspired gun rampage against the Jewish community, in Britain, in this handout picture obtained by Reuters on December 23, 2025. They are due to be sentenced on Friday. Photo: Greater Manchester Police/Handout via REUTERS
Two men were jailed on Friday for plotting to kill hundreds in an Islamic State-inspired attack on the Jewish community in England, a plan prosecutors said could have been deadlier than December’s mass shooting at Sydney’s Bondi Beach.
Walid Saadaoui, 38, and Amar Hussein, 52, were both convicted after a trial at Preston Crown Court, which began a week after an unrelated deadly attack on a synagogue in the city of Manchester, in northwest England.
Prosecutors said the pair were Islamist extremists who wanted to use automatic firearms to kill as many Jews as they could in an attack in Manchester.
They were found guilty little more than a week after a mass shooting at a Jewish Hanukkah celebration on Bondi Beach in which 15 people were killed.
Prosecutor Harpreet Sandhu said on Friday that, had Saadaoui and Hussein carried out their plan, it “could have been very much more serious” than the attacks in Australia and Manchester.
Judge Mark Wall sentenced Saadaoui to a minimum term of 37 years and Hussein to a minimum term of 26 years, saying: “You were very close to being ready to carry out this plan.”
Hussein refused to attend his sentencing, having refused to attend most of his trial, which Wall said reflected Hussein’s cowardice, describing him as “brave enough to plan to threaten an unarmed group with an AK-47 but not sufficiently courageous to face up to what he did.”
POTENTIALLY ONE OF DEADLIEST ATTACKS ON UK SOIL
Saadaoui had arranged for two assault rifles, an automatic pistol and almost 200 rounds of ammunition to be smuggled into Britain through the port of Dover when he was arrested in May 2024, Sandhu told jurors at the trial.
He added that Saadaoui planned to obtain two more rifles and another pistol, and to collect at least 900 rounds of ammunition.
“This would likely have been one of the deadliest terrorist attacks ever carried out on British soil,” Wall said.
Unbeknown to Saadaoui, however, a man known as “Farouk,” from whom he was trying to get the weapons, was an undercover operative who helped foil the plot.
Walid Saadaoui’s brother Bilel Saadaoui, 37, was found guilty of failing to disclose information about acts of terrorism. He was sentenced to six years in jail.
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African Union Summit Clouded by Saudi-UAE Rivalry in Horn of Africa
FILE PHOTO: A delegate walks next to African Union (AU) member states flags ahead of the 38th Ordinary Session of the Heads of State and Government of the African Union at the African Union Commission (AUC) headquarters in Addis Ababa, Ethiopia, February 14, 2025. Photo: REUTERS/ Tiksa Negeri/File Photo
A feud between Saudi Arabia and the United Arab Emirates across the Horn of Africa is overshadowing this weekend’s African Union summit, though most of the continent’s leaders will try to avoid taking sides, nine diplomats and experts said.
What began as a rivalry in Yemen has spread across the Red Sea into a region riven with conflicts – from war in Somalia and Sudan to rivalry between Ethiopia and Eritrea and a divided Libya.
In recent years, the UAE has become an influential player in the Horn – encompassing primarily Sudan, Somalia, Ethiopia, Eritrea, and Djibouti – through multi-billion-dollar investments, robust diplomacy and discreet military support.
Saudi Arabia has been more low-profile but diplomats say Riyadh is building an alliance that includes Egypt, Turkey and Qatar.
“Saudi has woken up and realized that they might lose the Red Sea,” a senior African diplomat told Reuters. “They have been sleeping all along while UAE was doing its thing in the Horn.”
Initially focused on the Red Sea and the Gulf of Aden – both crucial shipping routes, the rivalry is now reaching further inland.
“Today it is in Somalia, but it is also playing out in Sudan, Sahel and elsewhere,” the diplomat said.
COMPELLED TO CHOOSE A SIDE
While these conflicts have strong local drivers, Gulf involvement is forcing countries, regions and even warlords to choose a side, diplomats said.
Michael Woldemariam, a Horn of Africa expert at the University of Maryland, said regional actors, including Eritrea, Djibouti, Somalia and the Sudanese Armed Forces (SAF), have grown uneasy with the UAE’s “muscular” foreign policy.
“Saudis may seek to limit or curtail UAE in the Horn but, it remains to see how that will play out,” he said. “UAE has a lot of leverage across the region – it has this expeditionary military presence and dense financial linkages.”
Saudi officials say UAE activities in Yemen and the Horn threaten their national security.
Senior Emirati officials say their strategy strengthens states against extremists, while U.N. experts and Western officials argue it has sometimes fueled conflict and empowered authoritarian leaders, charges the UAE denies.
The officials and diplomats interviewed in this story declined to be named because of the sensitivity of the matter.
AVOIDING A BRAWL BETWEEN GULF POWERS
Israel’s recognition of Somaliland’s independence bid is the starkest example so far of tensions being stoked.
Somalia has cut all ties with Abu Dhabi, accusing it of influencing Israel’s recognition of Somaliland. Mogadishu has since signed a defense agreement with Qatar, while Turkey sent fighter jets to the capital in a show of force.
Tensions are also rising between African Union host Ethiopia and neighboring Eritrea, which have been on the verge of war for months. Eritrea’s leader recently visited Saudi Arabia, a trip that analysts perceived as signaling Saudi backing.
UAE and Saudi Arabia back opposing sides in Sudan’s war, all the sources and experts interviewed said. The UAE is accused of providing logistical support to the RSF paramilitary, while states in line with Saudi Arabia largely back the SAF.
Egypt, a Saudi ally, has deployed Turkish-made drones along its border with SAF and used them to strike RSF in Sudan, security officials said.
Analysts said Ethiopia benefits from UAE support, and Reuters found this week that Ethiopia is hosting a base in western Ethiopia where RSF fighters are recruited and trained.
Ethiopia has not publicly commented on the story.
‘ACTING THROUGH ALLIES AND PROXIES’
Across the region, Saudi Arabia often acts through allies and proxies rather than directly, experts said.
Woldemariam said African countries were likely to tread carefully.
“Even those actors in the Horn who were alarmed by UAE influence may be cautious about how much they want to be caught up in a brawl between these two Gulf powers,” he said.
The Horn is not the only crisis on the AU summit’s agenda.
War continues in Democratic Republic of Congo, and al Qaeda- and Islamic State-linked insurgencies are spreading across the Sahel region.
But those conflicts are still likely to take a back seat to the Horn.
Alex Rondos, the EU’s former special representative for the region, said the Horn had become a subsidiary arena for Middle East rivalries.
“Do the Saudis and UAE … fully grasp the implications?” he said. “Will the Horn of Africa allow itself to be broken into pieces by these foreign rivalries and their African accomplices?”
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US Military Preparing for Potentially Weeks-Long Iran Operations
FILE PHOTO: An Iranian woman holding a poster depicting Iran’s Supreme Leader Ayatollah Ali Khamenei walks under a large flag during the 47th anniversary of the Islamic Revolution in Tehran, Iran February 11, 2026. Majid Asgaripour/WANA (West Asia News Agency) via REUTERS/File Photo
The US military is preparing for the possibility of sustained, weeks-long operations against Iran if President Donald Trump orders an attack, two US officials told Reuters, in what could become a far more serious conflict than previously seen between the countries.
The disclosure by the officials, who spoke on condition of anonymity due to the sensitive nature of the planning, raises the stakes for the diplomacy underway between the United States and Iran.
US envoys Steve Witkoff and Jared Kushner will hold negotiations with Iran on Tuesday in Geneva, with representatives from Oman acting as mediators. US Secretary of State Marco Rubio cautioned on Saturday that while Trump’s preference was to reach a deal with Tehran, “that’s very hard to do.”
Meanwhile, Trump has amassed military forces in the region, raising fears of new military action. US officials said on Friday the Pentagon was sending an additional aircraft carrier to the Middle East, adding thousands more troops along with fighter aircraft, guided-missile destroyers and other firepower capable of waging attacks and defending against them.
Trump, speaking to US troops on Friday at a base in North Carolina, openly floated the possibility of regime change in Iran, saying it “seems like that would be the best thing that could happen.” He declined to share who he wanted to take over Iran, but said “there are people.”
“For 47 years, they’ve been talking and talking and talking,” Trump said.
Trump has long voiced skepticism about sending ground troops into Iran, saying last year “the last thing you want to do is ground forces,” and the kinds of US firepower arrayed in the Middle East so far suggest options for strikes primarily by air and naval forces. In Venezuela, Trump demonstrated a willingness to rely also on special operations forces to seize that country’s president, Nicolas Maduro, in a raid last month.
Asked for comment on the preparations for a potentially sustained US military operation, White House spokesperson Anna Kelly said: “President Trump has all options on the table with regard to Iran.”
“He listens to a variety of perspectives on any given issue, but makes the final decision based on what is best for our country and national security,” Kelly said.
The Pentagon declined to comment.
The United States sent two aircraft carriers to the region last year, when it carried out strikes against Iranian nuclear sites.
However, June’s “Midnight Hammer” operation was essentially a one-off US attack, with stealth bombers flying from the United States to strike Iranian nuclear facilities. Iran staged a very limited retaliatory strike on a US base in Qatar.
RISKS INCREASING
The planning underway this time is more complex, the officials said.
In a sustained campaign, the US military could hit Iranian state and security facilities, not just nuclear infrastructure, one of the officials said. The official declined to provide specific detail.
Experts say the risks to US forces would be far greater in such an operation against Iran, which boasts a formidable arsenal of missiles. Retaliatory Iranian strikes also increase the risk of a regional conflict.
The same official said the United States fully expected Iran to retaliate, leading to back-and-forth strikes and reprisals over a period of time.
The White House and Pentagon did not respond to questions about the risks of retaliation or regional conflict.
Trump has repeatedly threatened to bomb Iran over its nuclear and ballistic missile programs and crushing of internal dissent. On Thursday, he warned the alternative to a diplomatic solution would “be very traumatic, very traumatic.”
Iran’s Revolutionary Guards have warned that in case of strikes on Iranian territory, they could retaliate against any US military base.
The US maintains bases throughout the Middle East, including in Jordan, Kuwait, Saudi Arabia, Qatar, Bahrain, the United Arab Emirates and Turkey.
Israeli Prime Minister Benjamin Netanyahu met Trump for talks in Washington on Wednesday, saying that if an agreement with Iran were reached, “it must include the elements that are vital to Israel.”
Iran has said it is prepared to discuss curbs on its nuclear program in exchange for lifting sanctions, but has ruled out linking the issue to missiles.