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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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Eva Marie Saint was born Quaker, but found her ‘Exodus’ in Jewish stories
Oscar-winning actress Eva Marie Saint, who has died at age 102, preferred mishpocheh to political posturing.
Her stance was akin to that of author Albert Camus, who during a press conference in 1957 after winning the Nobel Prize in Literature, commented on strife in his native Algeria by opining of the terrorism used to liberate the nation from French colonialism, endangering his family still in his homeland: “If that is justice, I prefer my mother.”
Born to a Quaker family in Newark, Saint likely followed that religion’s wartime and immediate postwar concern for the fate of Europe’s Jews. Yet by 1951, when she married the American Jewish television director and producer Jeffrey Hayden (born Raphael Levine), to whom she would remain wed for 65 years, Saint apparently diverged from the official Quaker line.
By that year, previous collaborations between Quakers (officially the Religious Society of Friends) and Jewish communities during the Holocaust were halted by conflicts ensuing from the 1948 Arab-Israeli War. Traditional Quaker pacifism and historical Christian theology which downplayed Jewish presence in the Middle East opposed Israeli nationalist aims.
Instead, a policy purporting to favor balanced partiality claimed Quaker neutrality between Israeli authorities and Arab populations. Later, intense Quaker advocacy would make observers such as the historian Nancy Gallagher consider that the historic alliance with Jewish organizations was compromised.
Not so with Eva Marie Saint, who won acclaim in such early career explorations of Yiddishkeit as Paddy Chayefsky’s 1954 television production, Middle of the Night, which centered on a romance between Jerry Kingsley, a 53-year-old widowed Jewish garment manufacturer, who falls in love with Betty Prieser, his 24-year-old receptionist.
Nominated for an Emmy for her turn as Betty, Saint played opposite E.G. Marshall, but when the play transferred to Broadway two years later, the veteran of the shmatta trade was played by Edward G. Robinson (born Emanuel Goldenberg) with such heart-wrenching emotion that some theater mavens considered his work to be the single finest performance seen on the modern New York stage.
By then, Saint, replaced on Broadway by Gena Rowlands, had already conquered cinemagoers in Budd Schulberg’s 1954 film On the Waterfront, widely seen as an onscreen argument for betraying fellow Jews by naming names to political authorities. Screenwriter Budd Schulberg and director Elia Kazan had given friendly testimony to the House Un-American Activities Committee (HUAC) during the McCarthy era, decimating the lives and careers of many creative Jews in Hollywood. Among those cited in 1951 by Schulberg as dangerous Communist Party associates were the writer-director Herbert Biberman and screenwriter Albert Maltz. Meanwhile, in speaking to HUAC in 1952, Kazan singled out the writer Clifford Odets; actors Morris Carnovsky and J. Edward Bromberg; and actress Paula Strasberg.
In On the Waterfront, the protagonist played by Marlon Brando was shown breaking a code of silence to testify against mob-controlled union bosses. The result incensed Arthur Miller, who had originally written an unproduced screenplay about corruption on the Brooklyn docks, which Kazan had agreed to direct. At this point, Columbia Pictures head Harry Cohn demanded that the villains be altered from corrupt union bosses to Communists. Miller demurred, left the project, and was replaced by Schulberg. In 1955, Miller’s play A View from the Bridge was considered a response to Schulberg, in which informing was shown to be a destructive betrayal driven by jealousy, rather than noble whistleblowing.
Saint transcended this tzimmes pitting Jew against Jew by delivering an Oscar- winning performance in her first screen role. As the younger sister of a murdered dockworker, Saint demanded justice for her brother’s death and challenged the conscience of the character played by Brando.
Saint was later cast in Otto Preminger’s Exodus, whose overblown and boring nature is best summarized by a legendary historical burn: At a preview of the film in 1960, the Canadian Jewish comedian Mort Sahl rose from his seat and supposedly pleaded, “Otto, let my people go!”
The film was based on Leon Uris’ melodramatic novel about the founding of the State of Israel, which historians Matthew Silver and Deborah Dash Moore diagnosed as more redolent of shoot-em-up cowboy films than Jewish history. Nevertheless, once again Saint surpassed the limitations of a script given her, as a widowed American nurse toiling in Cyprus with Jewish refugees who becomes enamored of a Palestine-born Haganah leader, Ari Ben Canaan (played by Paul Newman).
Newman’s character tells Saint’s nurse, “I just wanted you to know that I’m a Jew. This is my country,” as Brandeis professor Stephen J. Whitfield notes in American Space, Jewish Time. Shortly afterward, she is seen wearing a khaki uniform and holding a gun, joining her betrothed and other Jews to resist an Arab attack. Film maven Tony Shaw asserted that, during the movie’s production, Saint made it a personal mission to recount to the international press “stories of Israel’s steadfastness” and “democratic spirit.” She also lauded the Jewish State’s “stoicism in the face of constant Arab invasion threats” and, further, spoke of the “opportunities Israeli women had” compared to “their Arab counterparts.”
In less fraught contexts, Saint continually proved that she was a mensch, as recalled by Brooklyn-born actor Bernie Kopell, a mainstay as Dr. Adam Bricker on TV’s The Love Boat. When the cast of one 1983 episode was temporarily outside the Parthenon in Athens, Kopell stated, Saint saw him studying his lines for a forthcoming stage role and offered her partnership to help him memorize the words. This solidarity from an Oscar-winning actress to a humble Love Boat actor impressed Kopell, but Saint told him with egalitarian zest that she did the same for all her friends.
On a more somber note, Saint’s personal steadfastness and Camus-like preference of family to debates on current events extended to portraying Marilyn Klinghoffer, the widow of Leon Klinghoffer who was murdered by Palestinian terrorists during the sea-jacking of the Italian cruise ship in a 1990 two-part miniseries, Voyage of Terror: The Achille Lauro Affair.
Saint incarnated the resolve of Marilyn Klinghoffer, who although fatally ill, had the fortitude to travel to Italy to testify against the four terrorists after her wheelchair-bound husband was separated from other passengers as a Jew during the 1985 Achille Lauro hijacking, murdered, and thrown overboard. It was a noble and compelling performance, like all of her work during a long acting career inspired by Yiddishkeit.
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Three years after Oct. 7, survey says Jewish engagement has reached an elevated ‘new normal’
(JTA) — Levels of engagement in Jewish life have risen overall, establishing a “new normal” three years after the Oct. 7, 2023, attacks, according to a survey released Thursday by the Jewish Federations of North America.
Thirty-eight percent of Jewish respondents surveyed by the federation umbrella group in May and June said they had increased their Jewish engagement in some way in the last three years, an increase of 7 percentage points over rates in 2025 yet down from the 43% rate in March 2024, in the months after the attacks. The survey had a margin of error of 1.8 percent.
JFNA researchers say the results demonstrate that this initial spike in engagement — which the organization dubbed “the Surge” — has had a lasting effect, prompting people to deepen their involvement in Jewish life even three years on.
“I think the fact that people are continuing to engage with community during a difficult time is a good thing, and it’s an opportunity for us to meet people’s needs in this moment,” Mimi Kravetz, JFNA’s chief impact and growth officer, told the Jewish Telegraphic Agency ahead of the release of the findings Thursday morning.
The number of “Surgers,” she said, includes Jews who were already engaged but have found ways to become more engaged since the attacks.
Many in the Jewish community feared that Jewish engagement “would continue to decline as we got further out from the events of Oct. 7, and that likely people would return to something like their behavior prior to Oct. 7,” Kravetz said. “That is usually what happens after a major incident.”
JFNA surveyed more than 2,800 Jews by text message in May and June of this year. Follow-up questions were generated by AI, which Kravetz said allowed researchers to ask open-ended questions about respondents’ relationship to Jewish community and quickly sort the answers by category.
This approach unlocked new insights. A top motivator for Jewish engagement was “social or interpersonal” connections in informal settings, such as Shabbat dinners or personal invitations to Jewish events. And in what seems like an encouraging sign for congregational Jewish life, 65% of Jews who “Surged” were turning to synagogues — though Kravetz noted that not every shul’s membership has grown as a result.
The Chabad-Lubavitch movement, whose adherents place a premium on interpersonal connections and often operate in environments lacking in other Jewish communal infrastructure, was the second-most-popular engagement option.
Jews who had increased their levels of engagement were also more likely to voice support for Israel, the findings said. Ninety-three percent of “Surging” Jews said they were “emotionally attached to Israel,” compared to 51% of Jews whose level of engagement did not change. Additionally, 75% of Jews who grew their engagement agreed that “in general, Israel makes me proud to be Jewish,” compared to 36% who did not “Surge.”
Overall, respondents’ most frequently cited barrier to participation in Jewish life was Israeli politics. Large numbers of Jews said they struggled to connect with Jewish community spaces because they felt misaligned on Israel in one direction or another — data that JFNA said it did not quantify because it came out of the open-ended section of the survey.
The most common complaint, Kravetz said, was that Jews were seeking spaces they thought of as “apolitical.”
Kravetz said that many of those Jews, instead of dropping out of Jewish life, indicated they eventually found communities that aligned better with their values.
“These aren’t people who are walking away,” Kravetz said. “These are people who are leaning into Jewish community and are experiencing this tension. And usually, what we see is people are interested in finding Jewish spaces that meet their needs.”
The challenge for Jewish leaders, Kravetz said, is “to make sure that we have and support that diversity of spaces for people, so that they can find the right space that meets their needs.”
But that diversity has limits, as many prominent Jewish leaders — including heads of JFNA — have also urged Jewish communal spaces to reaffirm a commitment to Zionism at a moment when more and more Jews feel divided on Israel. Some Jewish leaders have explicitly called to reject anti- and non-Zionist Jews.
Kravetz doesn’t see those values as contradictory or damaging to the “Surge.” She pointed to another recent JFNA survey, released earlier this year, querying Jews about their relationship to Zionism.
While that survey found that only a third of American Jews identify as Zionist, it also found that 88% of the same population agree with what has historically been a basic tenet of Zionism: that “Israel has the right to exist as a Jewish, Democratic state.”
“I think being supportive of the premise of Zionism, and in how we define Zionism, is very much aligned with engaging the majority of the Jewish community,” she said.
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On Oct. 7, Mamdani spoke in support of Palestinians. A father from Gaza did it better.
On Wednesday in New York City, on the third anniversary of Oct. 7, two people spoke up for Palestinians. One of them was New York City Mayor Zohran Mamdani. The other person actually said something helpful.
In a statement from the mayor’s office, Mamdani expressed sorrow at the loss of over 1,100 Israeli lives and Hamas’ “horrific war crimes,” then pivoted to condemn Israel for its war against Hamas in Gaza, accusing Israel of ongoing genocide, war crimes, apartheid and occupation.
Then came the Hallmark-ian ending, “To honor the dead, we must fight for a world in which every person can live with freedom, safety, and dignity.”
It was four paragraphs of blame with a coda of pablum: no vision for a way forward and no idea of how to improve Palestinian lives, much less Israeli ones.
Vision and healing — that is, leadership — came not from the mayor, but from a Palestinian and an Israeli who spoke later that day at a forum uptown.
“It’s my choice to give the children the anger and the pain or to give them a chance” at a future, said Jaser AbuMoussa, a Gazan who suffered unfathomable loss during the recent conflict. “And I will choose the chance every day.”
“Our neighborhood, from Nir Oz to the sea, can be a paradise because of the human factor on both sides of the border, and not because we necessarily love each other,” said Jonathan Dekel-Chen, a member of the ravaged Kibbutz Nir Oz. “You don’t have to agree on everything to get there.”
AbuMoussa and Dekel-Chen appeared on stage together at the 92nd Street Y, speaking across chasms of grief. From the West Coast, I tuned into a livestream of the event, because if Israelis and Palestinians want a secure and just future, it starts not with pain-inducing pronouncements like Mamdani’s, but with painful conversations like this one.
On Oct. 15, 2023, an Israeli airstrike hit AbuMoussa’s home in Khan Younis in Gaza, killing his wife and two of his children, as well as a nephew, sister-in-law and a cousin. A second airstrike killed his mother, sister, uncle, aunt, a niece and a nephew. AbuMoussa, a senior fellow at the Middle East Institute, managed to evacuate with his two surviving children to the United Arab Emirates, where they underwent lifesaving surgeries.
“She was an architect,” he said of his wife, Heba. “She was a novelist. She was a poet, and above all, she was a wife and a mother.”
Hamas terrorists took Dekel-Chen’s son Sagui into Gaza, where he was held for 498 days before his release. Terrorists killed 47 out of 420 kibbutz members and took 76 people hostage, including the Bibas family.
Hamas and Islamic Jihad gunmen “rampaged for nine hours through the kibbutz, destroying everything in their path,” said Dekel-Chen, a historian at Hebrew University and visiting professor at Columbia’s School of International and Public Affairs, which co-sponsored the event. He said he is only alive because he and his wife were on a work trip to the United States at the time.
So many arguments over Oct. 7 turn into comparative victimhood — Mamdani’s statement was an example of that, making sure to emphasize Palestinian loss.
But the Palestinian at the 92nd Street Y didn’t do that.
“To me, suffering is like an absolute value, and we are not here for a competition,” AbuMoussa said.
While on the same day in the same city, the mayor’s statement used the words “genocide,” “apartheid” and “war crimes,” the Gazan father who lost his wife and two of his four children used none of those words.
Both men made it clear that the pain and anger of Oct. 7 and the years that followed are ever-present, a fact of life. But so is the choice of how to channel that anger.
“I will not point it at people,” said AbuMoussa. “I will not point it at Jonathan because he is an Israeli. But I will point it at policies, at leaders, at systems that were invented to kill people.”
While he held Israel responsible for helping to create the catastrophe in Gaza — he pointed out that Israeli attacks have killed 1,400 Palestinians since the ceasefire — AbuMoussa — again, in contrast to Mamdani — excoriated Hamas. The group corrupted Gaza’s political, economic, social and above all religious life. It cast itself as the only legitimate interpretation of Islam, though AbuMoussa said Oct. 7 itself contravened Islamic law.
Hamas never treated protecting civilians as its job, AbuMoussa said, pointing out that Oct. 7 mastermind Yahya Sinwar’s family went into the tunnels while ordinary Gazans were left out, unprepared.
The Westerners who took to the streets and college campuses in support of resistance hurt Palestinians more than helped them, AbuMoussa said, because they blur Palestinians together with Hamas and the Iranian axis.
These were the very people Mamdani seemed to be pandering to in his statement — who turn Gaza, in AbuMoussa’s words, “into a flag or a pin.”
Dekel-Chen said his harshest critics are often Diaspora Jews who fail to separate what’s good for Israel from the government of Israel.
Because they spent no time trading accusations and blame, both men had plenty of time to discuss their vision for a better future.
Gazans aren’t leaving, despite the Israeli far right’s fantasies, and Israelis aren’t leaving, despite the Islamists’ fantasies, Dekel-Chen said.
It’s the simplest truth, but it carries extra weight when an Israeli Jew who lives a mile from Gaza says it: there are roughly seven million Jews and seven million Arabs between the river and the sea, and no one is going anywhere.
AbuMoussa said he is open to a confederation between Israelis and Palestinians, two states or “whatever.” But Oct. 7 proved the folly of believing the status quo, or just managing the conflict, will bring stability.
The way forward for now, both men said, is to push leaders to carry out the 20-point plan President Donald Trump put forward to help Gaza recover. They agreed that Washington still has the most leverage.
If Gazans had some sort of hope, AbuMoussa said, “I don’t think they will choose Hamas ever.”
Dekel-Chen said the insistence that Hamas fully disarm before any rebuilding “hurts us all.”
“Nothing positive will happen on our side of the border,” Dekel-Chen said, until most Gazans have hope in a post-Hamas future.
That is ultimately why both men decided to speak together — because they recognize what continuing the hatred costs.
“It’s the only way that I know how to honor those that I grieve, and the loss of life on both sides,” Dekel-Chen said.
It was a message, and a conversation that I wish Mamdani had heard in person. Instead, he spent the evening in Union Square, where anti-Israel protesters booed him for appearing with a group called Israelis for Peace.
To his credit, he showed up. But the same constituency the mayor seemed to court that morning turned on him that night, for standing beside actual Israelis calling for peace.
AbuMoussa and Dekel-Chen could have told him: You can stoke division or you can build a future. Choose the future.
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