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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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Iran Expected to Ramp Up Chemical, Biological Weapons Programs
Symbolic mock-ups of Iranian missiles are displayed on a street, amid the US-Israeli conflict with Iran, in Tehran, Iran, March 22, 2026. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
Amid sustained international scrutiny of Iran’s nuclear program, missile development, and regional proxy network, new assessments point to a quieter and more troubling front as allegations grow that Tehran may be expanding work related to chemical and biological weapons capabilities.
According to a new report from the Begin-Sadat Center for Strategic Studies at Bar-Ilan University in Israel, the Islamist regime in Iran may be advancing efforts to significantly develop its chemical and biological weapons programs — a move experts warn would pose serious risks not only to Israel but also to the wider region and the Iranian population itself.
Iran’s chemical and biological research programs allegedly focus on a range of toxic agents, including blister agents like mustard gas, nerve agents such as sarin and Novichok, and substances that attack the lungs or blood and can cause suffocation.
These reportedly also include biological threats such as anthrax, ricin, and botulinum toxins, as well as certain viruses, all of which can cause severe illness or death by disrupting the body’s nervous system, organs, or immune response.
Israeli officials have previously warned that the Iranian government has been developing dual-use chemicals, with both civilian and military applications, and may be channeling them to its regional proxy terrorist forces, raising fears they could be used to intensify proxy conflicts and destabilize the wider Middle East.
Tehran is also suspected of having used such agents to help suppress the nationwide anti-government protests earlier this year, which were violently crushed by security forces in a crackdown that left tens of thousands of demonstrators tortured, imprisoned, or killed.
Similar allegations have repeatedly emerged in the past, adding to a wider pattern of reported abuses against civilians and violations of human rights.
According to a report from Iran International, a medical staff member in Karaj said some detainees released during the January protests had reported body aches, lethargy, weakness, loss of appetite, nausea, and vomiting — all symptoms that may indicate possible drug-related poisoning.
Iran first began developing chemical weapons-related capabilities in the 1980s. In recent years, those efforts have reportedly evolved to include pharmaceutical-based agents and other compounds designed for incapacitation or riot control.
US government assessments have indicated for decades that Iran has been researching and developing chemical agents, including anesthetic compounds designed to incapacitate individuals by targeting the central nervous system.
These reports point to Iran’s academic sector playing a key role in this area, with Imam Hossein University and Malek Ashtar University of Technology — military-linked institutions associated with the Islamic Revolutionary Guard Corps and the Ministry of Defense — reportedly conducting research since at least 2005 into chemical agents designed for incapacitation.
Since the start of the war earlier this year, the Israeli Air Force has carried out sustained strikes targeting sites linked to chemical weapons research, development, and production, aiming to disrupt facilities embedded within Iran’s broader military-industrial infrastructure and associated pharmaceutical-based programs.
Even though Tehran has long denied pursuing chemical or biological weapons and remains a party to the Chemical Weapons Convention, Western governments continue to accuse the regime of violating international norms.
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Germany Reports ‘New Normal’ of Antisemitism as Islamist and Left-Wing Extremist Networks Fuel Rising Threats
Graffiti reading “Kill all Jews” was discovered on a residential building in Berlin-Pankow on April 26, 2026, part of a wave of antisemitic vandalism reported across the German capital over the past week, including swastikas and other hate-filled slogans scrawled on multiple sites. Photo: Screenshot
Germany is confronting what Jewish leaders describe as a “new normal” of antisemitism, with nearly half of Jewish communities across the country reporting incidents and officials warning that Islamist and left-wing extremist networks are driving a surge in hostility amid ongoing Middle East tensions.
According to a new survey released on Friday by the Central Council of Jews in Germany, 46 of more than 100 Jewish communities nationwide have been targeted in antisemitic incidents, underscoring the growing scale and urgency of the crisis.
Among the most commonly reported incidents were verbal abuse, threatening phone calls, hate speech, property damage, and antisemitic graffiti, with 68 percent of respondents saying they feel “very unsafe.”
“Following the explosive rise in antisemitism after Oct. 7, a ‘new normal’ has emerged,” Central Council President Josef Schuster said in a statement, referring to the Hamas-led invasion of and massacre across southern Israel over two years ago.
“A situation in which Jewish communities require constant protection and antisemitism has become normalized as part of the public sphere,” he continued.
In the wake of the recent war with Iran, 62 percent of respondents said their sense of insecurity has further intensified.
“This finding clearly shows that the war in the Middle East was always just a pretext, never a reason for antisemitic attacks and hate speech in Germany,” Schuster said.
Only 35 percent of respondents reported feeling a sense of solidarity and support from broader society, underscoring a widespread perception of isolation.
Even though religious and communal life continues largely with only minor restrictions in most communities, many Jews increasingly avoid displaying visible signs of their identity in public.
“Things that used to be taken for granted — openly wearing religious symbols, walking carefree to the synagogue — are now often accompanied by caution and more conscious consideration. At the same time, the emotional strain has increased significantly,” said one unnamed survey participant, according to the Central Council.
Amid a sharply deteriorating security climate in Germany, officials warn that surging antisemitism and hostility toward Israel are increasingly being driven by Islamist networks and left-wing extremist groups, with threats against Jewish and Israeli communities intensifying nationwide.
According to a study by the Hessian State Office for the Protection of the Constitution, Islamist and left-wing extremist actors are exploiting the Middle East conflict and rising regional tensions to spread antisemitic rhetoric, contributing to an increase in violence and harassment against Jews and Israelis.
The newly released report warns that such antisemitic narratives have become a central mobilizing force since the Oct. 7 atrocities, shaping public discourse and being used to justify acts of violence and intimidation.
“Antisemitism is no longer an isolated phenomenon, but a cross-cutting issue that connects various extremist groups,” the study notes.
After more than two years of escalation, German officials warn that the threat to Jewish life has risen dramatically, with antisemitic hate speech surging as extremist actors deliberately exploit the war in Gaza for propaganda.
The report points to extremist groups merging anti-imperialist ideology with entrenched antisemitic narratives in their propaganda around the Israel–Hamas war, including claims of a “genocide in Gaza,” depictions of the Jewish state as a “colonial power,” and labels such as “child murderer.”
These narratives are being used to justify violence against Israel and to exploit the humanitarian crisis to increase hostility and advance their agenda.
German Interior Minister Roman Poseck, who commissioned the report, warned of a deteriorating social climate, saying that “antisemitic sentiments are becoming increasingly intolerable, even in public spaces.”
“Antisemitism is one of the greatest threats to our social cohesion – especially from Islamism and the left-wing extremist spectrum,” the German official said in a statement.
“I am deeply ashamed of what Jews in Germany have to endure 80 years after the end of the Second World War,” he continued. “We Germans, in particular, bear a lasting responsibility never to forget what happened.”
According to Germany’s Radicalization Monitoring System and Transfer Platform, 45 percent of Muslims under the age of 40 in the country show an inclination toward Islamism — defined as support for Islamist ideas, preference for Sharia-based principles over the constitutional order, and the presence of antisemitic prejudices.
Among those surveyed, 23.8 percent view an Islamic theocracy as the most desirable form of government.
Even though right-wing extremism may be less normalized in mainstream discourse, the study warns it “remains a danger, as antisemitic prejudices and conspiracy myths continue to be deliberately spread there as well.”
The western German state of Hesse has seen a particularly visible surge in antisemitic expression, with chants such as “Child-murderer Israel,” “From the river to the sea,” and “Resistance is international law” heard at pro-Palestinian demonstrations, across social media, and on university campuses.
The study notes that these narratives act as a unifying thread, bringing together Islamist, left-wing, and right-wing extremists who adopt similar rhetoric to reinforce shared enemies and legitimize violence.
Notably, the German Left Party has repeatedly been at the center of controversy and public outrage over its continued use and promotion of anti-Israel rhetoric, reinforcing a recurring pattern of incidents within its ranks that have sparked allegations of antisemitism.
Last year, the party’s youth wing passed an anti-Israel resolution labeling the world’s lone Jewish state a “colonial and racist state project.”
More recently, Andreas Büttner, the commissioner for antisemitism in the state of Brandenburg in northeastern Germany, resigned from the Left Party, citing a rise in antisemitism within the ranks, relentless personal attacks, and a party climate that has become intolerable.
Beyond extremist circles, the report also points to antisemitism extending across segments of society, finding resonance in mainstream discourse where it is often disguised as legitimate criticism of Israel.
“This is shifting the boundaries of what society considers acceptable, normalizing antisemitic thinking while trivializing, legitimizing, and in some cases even glorifying violence against Jews,” the study says.
Earlier this month, the Hesse government introduced new legislation that would criminalize denying Israel’s right to exist, as authorities move to confront a surge in anti-Israel demonstrations and a growing tide of antisemitic rhetoric and attacks that have intensified pressure on Jewish communities across the country.
The proposed legislation would close what officials describe as a legal loophole by explicitly criminalizing the denial of Israel’s right to exist, with penalties of up to five years in prison or a fine, aligning it with existing provisions that punish Holocaust denial.
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Hasan Piker Campaigns With Pennsylvania Democrat as Star Rises Despite Antisemitism Controversies
Hasan Piker. Photo: Wikimedia Commons
Tensions in Philadelphia intensified this week after Pennsylvania state Rep. Chris Rabb, a Democrat running for US Congress, appeared on a livestream hosted by far-left commentator Hasan Piker, drawing criticism from political opponents and some Jewish community leaders over Piker’s expressed hostility toward Israel and support for foreign terrorist groups such as Hamas and Hezbollah.
Rabb, who is seeking the Democratic nomination in Pennsylvania’s 3rd Congressional District, joined Piker’s widely watched online broadcast as part of an effort to reach younger, digitally engaged voters. The district, a safely Democratic seat centered in Philadelphia, is expected to be decided in the primary, where Rabb faces a competitive field that includes state Sen. Sharif Street and physician Ala Stanford.
Piker arrived in Philadelphia from Los Angeles to help Rabb fundraise for the campaign and joined him for a rally. While talking with Piker on the livestream, Rabb addressed backlash over his decision to meet with the streamer, dismissing his critics as being motivated by racial animus.
“I’m going to be slammed for even talking to you,” Rabb told Piker. “But there’s a double standard, because as a Black progressive, I can’t do this. I’m part of the problem or whatever.”
During the livestream, Rabb discussed progressive policy priorities and his campaign message. But the appearance quickly became a flashpoint in the race, as critics pointed to Piker’s history of inflammatory comments.
“Hasan Piker has a documented record of statements that we find deeply troubling,” said Jason Holtzman, chief of the Jewish Community Relations Council at the Jewish Federation of Greater Philadelphia. “He dismissed the sexual violence of [Hamas’s attacks on Israel on Oct. 7, 2023]. He called Orthodox Jews ‘inbred.’ He compared Zionists to Nazis. He characterized Hamas as preferable to the state of Israel.”
Holtzman added, “These are not edgy opinions. They are statements that minimize Jewish suffering, dehumanize Jewish people, and normalize violence against Jews and the Jewish state.”
Since entering the race, Rabb has attempted to establish the Israel-Hamas conflict as a central feature of the competition. He has lambasted his opponents for stopping short of accusing Israel of committing “genocide” in Gaza and has repeatedly pressed other Democrats on where they stand on the conflict.
Ala Stanford, an establishment Democrat who is widely considered the favorite in the race, has refused to accuse Israel of “genocide” and has stated that such accusations are harmful to the local Jewish community.
Piker, a prominent left-wing streamer with a large following on platforms like Twitch, has previously drawn backlash for rhetoric which critics say crosses into antisemitism. In addition to repeatedly praising Hamas, he has even said “it doesn’t matter” if sexual assault took place during the terrorist group’s Oct. 7, 2023, invasion of and massacre across southern Israel.
This week, US Reps. Josh Gottheimer (D-NJ) and Mike Lawler (R-NY) introduced a bipartisan resolution that condemns “antisemitic, hate-filled rhetoric and content” promoted by Piker and podcaster Candace Owens.
Piker has denied accusations of antisemitism.
“They are once again conflating legitimate critics of Israel with actual antisemites,” he told the Jewish Telegraphic Agency (JTA) in response to this week’s resolution in Congress. “They would rather complain about fake antisemitism in defense of Israel than call out the real sources of Jew hatred with a full chest. I have spent my entire career combating all forms of bigotry including antisemitism and will continue to do so in spite [of] this cynical ploy to satisfy donors.”
Most recently, Piker has come under fire for praising Graham Platner, the presumptive Democratic nominee for US Senate in Maine, for previous Reddit comments in which he complimented Hamas.
During Thursday’s rally in Philadelphia, Piker urged the crowd to help Rabb secure the congressional seat instead of a “do nothing Democrat” who would not accuse Israel of committing “genocide” in Gaza.
The controversy underscores how the Israel-Hamas conflict has become a defining issue in Democratic primaries across the country, exposing deep divisions within the party. In Philadelphia, where there is a significant Jewish population, candidates have faced increasing scrutiny over their positions and associations. However, the district, which is disproportionately Black and lower income, is unlikely to be heavily swayed by the conflict in Gaza when considering their vote.
Rabb’s campaign defended Piker’s appearance, framing it as an effort to broaden political participation and engage younger voters who consume news and commentary online rather than through traditional media outlets.
Further, the episode highlights a broader shift in campaign strategy, as candidates increasingly turn to digital influencers to expand their reach. But it also illustrates the risks of entering highly polarized online spaces, where associations can quickly become liabilities.
Over the past few weeks, Piker has traversed across the country, appearing alongside a litany of rising progressive stars during fundraisers and rallies. Recently, he appeared at the University of Michigan alongside the controversial Senate candidate Abdul El-Sayed. Similar to Rabb, El-Sayed has accused Israel of “genocide” in Gaza. The Senate candidate has also come under criticism for seemingly sympathizing with a Hezbollah-linked terrorist who attempted to attack a Michigan synagogue in March.