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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.”


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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University of Sydney Fires Staff Member Over Antisemitic Abuse of Students

Illustrative: An anti-Israel protest at the University of Sydney in Australia, April 26, 2024. Photo: Dean Lewins via Reuters Connect

The University of Sydney in Australia has dismissed an employee who was filmed shrieking at Jewish students over their support for Israel, a tirade in which she described them as “depraved” and inhuman.

“They’re shredding children!” staff member Rose Nakad screamed at the students in October, repeating pro-Hamas propaganda Hamas falsely accusing Israel of targeting Palestinian children in Gaza. “You are a f—king filthy Zionist. Nothing to do with being a Jew, you disgusting, depraved person.”

On Monday — just one day removed from the Bondi Beach massacre in which gunmen opened fire on Jews celebrating the start of Hanukkah in Sydney, hospitalizing dozens of people in addition to the 15 individuals who were murdered — the university denounced Nakad’s conduct as “distressing and utterly unacceptable.” It had previously suspended Nakad, signaling its appreciation of the gravity of her misconduct amid a global surge in antisemitism.

“The behavior that took place on our campus in October this year was deeply distressing and utterly unacceptable. We immediately suspended the staff member pending a formal process and have now terminated their employment on the grounds of serious misconduct,” the university said in a statement.

“This decision followed careful consideration in line with our clear expectations of behavior and our obligation to make sure our campuses are safe and welcoming for all,” the university continued. “Hate speech, antisemitism, and harassment have no place at our university and when our codes of conduct are breached, we do not hesitate to take disciplinary action.”

It added, “We continue to work on making our campus safe for all and if our codes are breached, we do not hesitate to take disciplinary action.”

In footage obtained by Sky News, Nakad approached several students celebrating the Jewish holiday of Sukkot. She asked if they were “Zionists” and continued to harass them as they asked her to leave.

“A Zionist is the lowest form of rubbish,” Nakad said to the students, according to the video. “Zionists are the most disgusting thing that has ever walked this earth.” The staff member described herself as an “indigenous Palestinian,”

Australia had seen its share of antisemitic outrages before the Bondi Beach shooting, as previously reported by The Algemeiner.

In December 2024, for example, the home of Lesli Berger, former president of the New South Wales Jewish Board of Deputies, was vandalized, having been graffitied with a swastika. Next to the infamous Nazi symbol the vandal spray-painted the words “Jordan Gayter,” believed to be a misspelling of the German phrase for “Juden Gatter,” or “Jewish Gate.”

In November 2023, mere weeks after Hamas’s Oct. 7, 2023, massacre across southern Israel, a Jewish man was assaulted by an anti-Israel mob because he took down an advertisement of a pro-Palestinian rally. Someone then thumped him on the back of his head, knocking him to the ground. Then three men joined in and proceeded to punch and kick him while calling him a “pro-Jew dog” among other names.

The onslaught concussed the man and, causing other injuries, fractured his spine. He reportedly spent four days in the hospital and later told a local media outlet that he is “very lucky” to be alive.

In one notorious episode in the immediate aftermath of the Oct. 7 attack, hundreds of pro-Hamas protesters gathered outside the Sydney Opera House chanting “gas the Jews,” “f—k the Jews,” and other epithets.

The explosion of post-Oct. 7 hate also included vandalism and threats of gun violence. For example, a male assailant repeatedly punched a Jewish man while screaming “dirty rotten Jew c—t”; a group of young men jumped a Jewish boy, whom they called a “dirty Jew”; and pro-Hamas protesters “spat on, threatened, and kicked” an elderly Jewish woman during a demonstration held to raise awareness of antisemitism.

Anti-Israel sentiment has also led to vandalism. In June 2024, the US consulate in Sydney was vandalized and defaced by a man carrying a sledgehammer who smashed the windows and graffitied inverted red triangles on the building. The inverted red triangle has become a common symbol at pro-Hamas rallies. The Palestinian terrorist group, which has ruled Gaza for nearly two decades, has used inverted red triangles in its propaganda videos to indicate Israeli targets about to be attacked. According to the Anti-Defamation League (ADL), “the red triangle is now used to represent Hamas itself and glorify its use of violence.”

Now, in the closing weeks of 2025, antisemitism in Australia has led to the deadliest terrorist attack in the country’s history.

Australian officials said they identified the mass shooters at Bondi Beach as Sajid Akram, 50, who was killed at the scene, and his son Naveed Akram, 24, who was in critical condition in a hospital. The younger suspect reportedly came to the attention of Australia’s domestic intelligence agency in 2019 for his ties to a Sydney-based cell of the Islamic State (ISIS) terrorist group.

Follow Dion J. Pierre @DionJPierre.

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Tributes Pour in for Jewish Director Rob Reiner, Wife After Couple Found Dead, Son Arrested on Murder Charges

(From left) Rob Reiner, Michele Singer, Romy Reiner, Nick Reiner, Maria Gilfillan and Jake Reiner attend the Los Angeles Premiere of ”Spinal Tap II: The End Continues” at The Egyptian Theatre in Los Angeles, California, US, Sept. 9, 2025. Photo: REUTERS/Aude Guerrucci

Dozens of people in Hollywood have expressed profound sadness following the news that visionary Jewish filmmaker Rob Reiner and his wife, Michele Singer Reiner, were found dead in their Los Angeles home on Sunday night and that their middle son is being charged with murder.

Reiner, 78, was born in the Bronx, New York, in 1947. In the 1970s he co-starred in the sitcom “All in the Family” before becoming the famous director behind movies such as “This Is Spinal Tap,” “Stand by Me,” “The Princess Bride,” “When Harry Met Sally…” and “A Few Good Men.” Earlier this year, Reiner released the sequel, “Spinal Tap: The End Continues.” He also directed the 2015 film called “Being Charlie,” inspired by his son Nick’s longtime battle with heroin addiction and the impact that his substance abuse had on the family.

On Sunday, Reiner and his wife, 68, were found dead by what police described as an apparent homicide at their home in Brentwood, California. Their middle son, Nick, is being held at Los Angeles’ Twin Towers Jail, having been arrested on murder charges in connection with their deaths. The 32-year-old reportedly has his bail set at $4 million. “As a result of the initial investigation, it was determined that the Reiners were the victims of homicide. The investigation further revealed that Nick Reiner, the 32-year-old son of Robert and Michele Reiner, was responsible for their deaths,” the Los Angeles Police Department (LAPD) said in a statement on Monday.

“I saw them night before last looking healthy and happy,” Jane Fonda wrote in an Instagram post. “I am reeling with grief. Stunned.” She shared a photo of the late couple on Instagram and wrote that they were “wonderful, caring, smart, funny, generous people, always coming up with ideas for how to make the world better, kinder.”

Fonda also said the couple had recently been helping her to relaunch the Committee for the First Amendment, a group that champions freedom of expression from government censorship.

“My heart is broken,” Zooey Deschanel said in a tribute to Reiner, who played her father on the show “New Girl.” She called Reiner “the absolute warmest, funniest, most generous of spirits. A truly good human being. An incredible artist and such a playful and fun collaborator.”

“I cherish the time we spent working together and the many films he made that have shaped who I am,” she added. “Rob and his lovely wife Michele were always so kind and it brought me so much joy any time I was lucky enough to see them. I’m absolutely devastated. Sending so much love to their family and friends.”

The estate of Norman Lear, the legendary producer who created “All in the Family,” released a statement remembering the close relationship between the two men. “Norman often referred to Rob as a son,” the statement said. “The world is unmistakably darker tonight.”

Jerry Seinfeld said Reiner had one of the biggest influences on his career aside from Larry David, who co-created “Seinfeld,” and the late George Shapiro, who was Seinfeld’s manager and a producer on the renowned sitcom. Reiner also helped save “Seinfeld” from almost being canceled, Seinfeld said. He shared a photo of himself alongside Reiner and his father, the late actor Carl Reiner.

“Our show would have never happened without him. He saw something no one else could,” Seinfeld explained in an Instagram post. “When nobody at the network liked the early episodes, he saved us from cancellation. That I was working with Carl Reiner’s son, who happened to be one of the kindest people in show business, seemed unreal.”

“I was naive at the time to how much his passion for us meant,” Seinfeld added. “Rob and Michele married right as our show was starting and they became an imprint for me of how it’s supposed to work, each one broadening the other. Their death, together, is impossibly sad.”

Kathy Bates, who won an Oscar for her leading role in Reiner’s 1990 horror “Misery,” said in a statement to Entertainment Weekly that Reiner was a “brilliant and kind, a man who made films of every genre to challenge himself as an artist.”

“I’m horrified hearing this terrible news. Absolutely devastated. I loved Rob,” she added. “He changed the course of my life … My heart breaks for them both. My thoughts are with their family.” She also said the late director was someone who “fought courageously for his political beliefs” and praised his wife as a “gifted photographer.”

Novelist Stephen King, who wrote the books that inspired Reiner’s films “Stand by Me” and “Misery,” praised the late director in a post on X as a “wonderful friend, political ally, and brilliant filmmaker.”

“You always stood by me,” King added.

Paul Feig, the director of “Bridesmaids,” posted a photo of himself and Reiner at Comic-Con and wrote that the latter “was my true hero.”

“One never knows if it’s proper to post during something as tragic as this,” Feig said. “But I just want the world to know what so many of us know in the industry. Robert was the best.”

Reiner and his wife are survived by two sons Jake and Nick, and their youngest daughter Romy, who reportedly called 911 on Sunday after discovering the bodies of her parents.

Rob and Nick allegedly got into a “very loud argument” on Saturday night while attending a Christmas party hosted by former talk show host Conan O’Brien, People magazine reported, citing multiple sources. Rob and his wife were found dead at their home the next day.

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After Bondi Attack, the West Must Face the Reality of ‘Migration Jihad’

A woman keeps a candle next to flowers laid as a tribute at Bondi Beach to honor the victims of a mass shooting that targeted a Hanukkah celebration at Bondi Beach on Sunday, in Sydney, Australia, Dec. 16, 2025. Photo: REUTERS/Flavio Brancaleone

“They don’t move from the Arab world to Europe. They move the Arab world to Europe.” So said Professor Mordechai Kedar when he spoke to me for an extended interview as part of my podcast series. That episode was published the very day the Hanukkah celebration at Bondi Beach in Sydney, Australia, was attacked. The massacre only confirmed his words. Migration, as he described it, does not merely transfer people from one place to another. It carries cultures, ideologies, and systems of meaning with it, and those systems do not remain inert; they spread and even flourish.

Kedar’s claim is not about ethnicity or private belief. It describes the movement of social order, of moral assumptions, of ideas about authority and legitimacy. People do not arrive empty-handed. They bring with them ways of organizing life, ways of resolving conflict, ways of defining who belongs and who does not. When those systems collide with liberal societies uncertain of their own boundaries, pressure accumulates.

The Bondi shooting especially matters because it strips away the last remaining comfort. This was not Gaza, not the West Bank, not a contested border. It was a beach, during a religious festival, in a country geographically and politically distant from the Middle East. A symbol of Australia, freedom, liberty. The perpetrators identified by law enforcement, a Muslim father and son, who had taken part in “military-style training” in the Philippines in the month leading up to the attack, targeted Jews.

Kedar warned me how this form of conquest moves through ideology, through repetition, through intimidation, through the slow reshaping of public space by force and intimidation — a “migration jihad.” Islam is not a private creed, but an all-encompassing framework. As Kedar puts it, it is “not only religion … Islam is also politics, economy, and every aspect of public life.” When that framework relocates, it seeks expression. When it meets hesitation, it expands.

Europe has been living inside this dynamic for years. Jews are often the first target, but the pattern rarely ends with us. Concerts, campuses, cultural events, and public squares have become the battlefields of this unconventional war. Yet political leadership responds with ritual rather than authority: candle lighting, moments of silence, interfaith theater. Expressions of sorrow, memorial gestures, and carefully chosen metaphors replace enforcement and deterrence. In Britain, demonstrations containing explicit antisemitic incitement have been tolerated for months without clear red lines. Around the world, the language of concern circulates freely while responsibility for combating poisonous ideologies and organized dangerous networks is shirked.

Paris has just canceled its traditional open-air New Year’s Eve concert on the Champs-Élysées because authorities judged the security risks too high to safely host such a large crowd of around a million people. The event will be replaced by a pre-recorded broadcast and fireworks only. Christmas markets and other festive sites have also been flagged as high-risk targets and subject to fortified security.

So, it’s not just Jews who are under threat. In Australia the terrorists came for Hanukkah, but they’ve been targeting Christmas for years. In Berlin in December 2016, a Muslim attacker, Anis Amri, drove a lorry into the Christmas market at Breitscheidplatz, murdering 12 people and injuring dozens more in one of the deadliest jihadist attacks in Germany.

In Strasbourg in December 2018, a Muslim attacker inspired by ISIS opened fire near the city’s Christmas market, killing five people, in an assault explicitly framed by French authorities as Islamist terrorism.

And last week federal authorities in the US arrested several people in connection with a planned New Year’s Eve bombing plot in Southern California. The FBI and Department of Justice say the group responsible is “pro-Palestinian” in its outlook as well as anti-law-enforcement and anti-government. The individuals were allegedly preparing improvised explosive devices (IEDs) to be used in coordinated bomb attacks across Los Angeles on New Year’s Eve.

But the response is weak. These days, order is no longer asserted; risk is managed. Jewish institutions are advised to remain calm while accepting abnormal levels of private security as a permanent feature of everyday life. An arrangement that should register as failure is absorbed as routine. Trust erodes this way.

Bondi shows that Europe is no longer the outer boundary of this phenomenon. Australia is now inside it. America, too, is discovering the same pressures through campus unrest, ideological intimidation, and violence that increasingly treats Jewish life as a proxy target for the wider freedoms and values it represents. The geography changes. The structure holds.

What Professor Kedar described was not prediction but trajectory. When people do not simply arrive but bring whole systems with them, the question facing Western societies ceases to be one of tolerance alone. It becomes a question of whether they still possess the clarity and resolve to defend the civic order and freedoms they inherited.

Jonathan Sacerdoti, a writer and broadcaster, is now a contributor to The Algemeiner.

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