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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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Why are all the cool girls wearing yarmulkes?
If you have a passion for fashion, enjoy exotic headgear, or, if you, like me, just happen to go outside once in a while, then there is a good chance that you, too, have crossed paths with the “crochet skullcap.” Cobweb-thin and dainty, they come in as many colors as Joseph’s coat and just as many stitch patterns. Some have little stars or pom-poms on the fringe. Some even have brims, like a lampshade but for your head.
I had never seen one of these creations until a few months ago. For reasons I cannot disclose, I was walking down Carnaby Street, a famous shopping mecca in London’s SoHo neighborhood, squinting down at Google Maps when some spirit — maybe God — compelled me to look up. Before me in the afternoon glare stood a glimmering seraph. She was tall and gleaming, sliding languidly down the street like a cheetah on a runway. And on her head she wore … a yarmulke?! I blinked and shook myself. When I looked again, she was gone.
But her image had burned itself into my memory like acid on copper. Specifically that yarmulke of hers. It was like a lilac doily, but with more structural integrity. It was also bigger than the average yarmulke. Whereas your standard yarmulke is around bald-spot-sized, this woman’s yarmulke was big enough to engulf her whole cranium.
Back in America, preliminary Googling revealed that part of the reason the woman’s yarmulke was so big and purple was that it was not a yarmulke at all, but a “crochet skullcap.” A Vogue article addressed the very question that was plaguing me: “Why Is Everyone Wearing a Tiny Crochet Skullcap?” Everyone, that is, who attended Copenhagen Spring Fashion Week 2026, where apparently everybody “got the memo to wear a tiny crochet skullcap.” Had they all unexpectedly converted to Judaism?
The article offered alternative theories: Perhaps the artisanal, handmade connotations of crochet (even when mass-produced) appealed to Danish dames; perhaps these head coverings were a symptom of nostalgia for the ’60s and ’70s, when crochet skullcaps were so popular among the freewheeling hippies that the original 2007 release of Julie Albright, the American Girl Doll emblematic of ’70s San Francisco, came with a tiny lilac skullcap of her own.
On the other hand, maybe the crochet skullcap’s ascendance was proof that the cultural pendulum was swinging conservative. I was deep into the article when I found what I had been looking for: my smoking gun, nestled between two parentheses. The crochet skullcap, one fashion expert noted, “is similar to religious head coverings, like the kufi and yarmulke.”
“HA!” I yelled. If there had been any birds in my kitchen, they would have scattered. So I wasn’t insane after all!
Further research revealed that these tiny crochet circlets contained great contradictions. How was it possible that hippy-dippy flower children had pulled up at Woodstock wearing more or less the same hat that other guys wore while praying three to five times a day? Among the religious demographic, the yarmulke and kufi symbolized modesty and humility before God. Among fashion-forward extremists, the crocheted skullcap — some of which sell online for more than $300 — symbolized chicness, even status. Such a paradox required the help of an expert. So I wrote to Janet Linville, the head milliner at the Metropolitan Opera and senior millinery instructor at the Fashion Institute of Technology (FIT) with my question: What did this hat mean?
Unsurprisingly, there were many meanings. “This sort of head covering goes a long way back in history,” she wrote. “Similar caps were worn at night to ‘keep the spirits in (or out), to cover tempting hair, to show marital status, and for religious deference reasons.” On the off-chance the Copenhagen Fashion Week crowd wasn’t trying to keep spirits out or cover their tempting hair, Linville offered another theory: Perhaps it was just that “handmade crafted looks, such as embroidery and knitting have been more popular recently.” In other words, maybe people were just wearing something because it looked cool, not because they were tapping into a millennia-long monotheistic tradition. “I suppose there’s an argument to be made that we are living in more conservative times,” she wrote, “but crocheted skull caps were also popular in the permissive ’60s and ’70s.”
The crochet skull cap falls in step with a broader trend of cool-ifying symbols of tradition and even conservatism, such as the corset, the crucifix, the “prairie dress,” and the “milkmaid dress.” (Evie Magazine’s “Raw Milk Maid Dress” sparked furor in the tradwife community over what was viewed as an unpasteurized level of sexiness.) El País reports that from 2024 to 2025, online searches for knee-length skirts rose by 33%, equestrian boots by 39%, and gingham checks, a pattern some consider evocative of 1950s domesticity, by 33%.
But it is hard to know what people are thinking when they follow trends. Perhaps it is to promote one idea, or to subvert another. Perhaps it is because other people are doing it. Perhaps it is for no reason at all. For my part, I’m thinking of getting in on this trend while it’s hot. There’s a soccer-ball-themed yarmulke from my cousin’s bar mitzvah lying around the house somewhere. All I need to do now is punch a few holes.
The post Why are all the cool girls wearing yarmulkes? appeared first on The Forward.
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Mamdani concedes he can’t arrest Netanyahu but urges U.S. to enforce International Criminal Court warrant
New York City Mayor Zohran Mamdani announced Tuesday night that a legal review he ordered found he does not have the authority to arrest Israeli Prime Minister Benjamin Netanyahu when he visits the city, putting to rest a question that has repeatedly surfaced since he first vowed to take custody in light of an International Criminal Court order for Netanyahu’s arrest.
In the two-minute address posted on his official social media accounts, Mamdani opened by declaring “Benjamin Netanyahu is a war criminal, the architect of a horrific genocide against the Palestinian people” but acknowledged the legal limits that prevent him from following through on his pledge, which had become a rallying cry for his pro-Palestinian supporters. (The use of the term “genocide” to describe the Gazan death toll in the Israel-Hamas war remains contested.)
“My administration has reviewed every avenue available under applicable law to determine whether New York City could execute the International Criminal Court’s arrest warrant if Benjamin Netanyahu came here,” Mamdani said. “It is clear that we do not have the independent legal authority to enforce this one.”
Benjamin Netanyahu is a war criminal. pic.twitter.com/YRezmW6YVx
— Mayor Zohran Kwame Mamdani (@NYCMayor) July 22, 2026
The United States does not recognize the court’s authority over American citizens or foreign nationals on U.S. soil, and local authorities have no power to execute such a warrant. U.S. law gives the federal government control over foreign policy, and heads of state traveling to the United Nations are protected by diplomatic immunity.
The announcement ended days of speculation and fierce backlash over one of his most controversial campaign promises after comments he made when asked about his arrest vow in an interview with The New York Times reignited the issue. “If someone is charged with a warrant from the International Criminal Court for these types of crimes, that’s something I believe should be honored,” Mamdani told reporters on Monday.
Mamdani, who rose to power aligned with pro-Palestinian activism, has been unapologetic about his anti-Zionist views. He came under fire during the mayoral race last year for defending the slogan “globalize the intifada,” used by some at the pro-Palestinian protests and perceived by many as a call for violence against Jews, and repeatedly said he’d arrest the Israeli leader over the conduct of the war in Gaza.
Netanyahu’s representatives in the U.S. responded angrily to Mamdani’s move, calling him “an antisemite” and accusing him of attacking Israel to cover up for political failure.
On Tuesday night, Danny Danon, Israel’s ambassador to the United Nations, responded on social media: “Zohran Mamdani, ENOUGH. Enough with the blood libels. Enough with the attacks on Jewish organizations. Enough with the outreach to the Iranian regime. You were elected to serve New Yorkers, not Hamas’ propaganda. Do your job!”
Tuesday’s video mirrored the Nakba Day video produced by his City Hall media team commemorating the displacement of Palestinians during Israel’s founding in 1948, which drew sharp criticism from Jewish and Zionist organizations. But it also highlighted the tension that has defined Mamdani’s first six months in office: balancing the activist politics that propelled him to City Hall with the legal limits and governing responsibilities of leading the city with the largest Jewish population outside Israel.
In his address, Mamdani said that while the city had exhausted its legal options, the federal government had not. He urged the Trump administration to join the International Criminal Court and enforce its arrest warrant for Netanyahu. President Donald Trump, writing on Truth Social on Monday, reassured Netanyahu that he “will not be arrested, in any way, shape, or form, while in the United States of America.”
Mamdani concluded that Netanyahu “is not welcome in New York City” and said New York leaders can choose not to remain silent to defend Palestinian human rights. “That is my commitment to you,” he said.
The post Mamdani concedes he can’t arrest Netanyahu but urges U.S. to enforce International Criminal Court warrant appeared first on The Forward.
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Democratic socialist rails against AIPAC in uphill primary bid against pro-Israel incumbent in Arizona
(JTA) — Kai Newkirk, an activist and democratic socialist, has made Israel and AIPAC a focal point in his effort to unseat pro-Israel Rep. Greg Stanton in Tuesday’s Arizona Democratic primary.
“I’ve been arrested over 25 times in civil disobedience — and I’ll go to jail for justice again before I ever take a dime from AIPAC,” Newkirk wrote on X last week, referring to the American Israel Public Affairs Committee.
Newkirk, 45, whose organizing has largely focused on campaign finance reform, has repeatedly blasted Stanton’s support from the pro-Israel lobbying group. He has also accused the Israeli government itself of “trying to interfere in our elections,” including in Arizona’s 4th Congressional District where he is running and which covers parts of Phoenix and Maricopa County.
He pointed to a $45 million text message campaign to improve Israel’s image in the U.S. as a sign of such interference, and posited that “they may be targeting areas where AIPAC is more invested or where these issues are more at stake.”
The primary comes as a number of left-wing congressional candidates with sharply critical Israel stances have won the Democratic nomination around the country, and as Israel and AIPAC grow increasingly unpopular among Democratic voters.
The most recent poll on the Arizona race, commissioned by a group that favors Newkirk, had Stanton up by 8 percentage points, while another poll, conducted two weeks earlier by a group favoring Stanton, showed the incumbent ahead by 33 points.
Newkirk’s platform includes ending all military aid to Israel and imposing an arms embargo on the country, which he accuses of genocide.
Stanton, 56, a four-term incumbent, voted against Kentucky Rep. Thomas Massie’s amendment to cut military aid to Israel last week. Newkirk criticized Stanton, saying that he would have voted for the amendment, and suggested that Stanton’s vote was the result of his support from AIPAC.
“Greg Stanton has taken over $300K from AIPAC,” Newkirk wrote. “And today — as so many Americans in our district and across the country struggle to get by — he just voted to send billions more of our tax dollars to Israel to fund their war crimes and genocide. Disgraceful.”
Among AIPAC’s endorsees in Congress, more than a dozen voted to cut aid to Israel last week; AIPAC has since removed the option on its website to donate to those candidates.
Stanton explained his vote on X, saying that the amendment “would undermine America’s ability to counter real threats from Iran” and weaken the ability to promote long-term stability across the region. He also criticized Israeli Prime Minister Benjamin Netanyahu and wrote that “clear change is necessary” as the U.S.-Israel security agreement, which includes $3.8 billion in annual military subsidies for Israel, nears its expiration in 2028.
Newkirk is endorsed by progressive groups such as Our Revolution, Track AIPAC and the Progressive Democrats of America.
Also among Newkirk’s endorsers is Cenk Uygur, the host of the Young Turks who has spread conspiracy theories about Israel. “Kai is Israel Free and has fought to get money out of politics his whole life,” wrote Uygur last month.
Newkirk has faced turbulence in establishing broader support.
The Young Democrats of Arizona pulled its endorsement of Newkirk earlier in July, writing that it had been “made aware of some concerning patterns of behavior” displayed by Newkirk, without specifying what it meant.
Newkirk did not respond to the Jewish Telegraphic Agency’s request for comment. After the Young Democrats of Arizona retracted its endorsement, Newkirk wrote that the withdrawal of the endorsement was based on a false report amid “a wave of wins by democratic socialists” and called it a “weaponization of … disavowed misinformation.”
Newkirk did speak out against last year’s killing of two Israeli Embassy staffers outside the Capital Jewish Museum in Washington, D.C. “I stand always with my beloved Jewish siblings against the scourge of antisemitism just as I will never stop in the nonviolent struggle to end the genocide in Gaza, release all hostages, and open the way to just, lasting peace,” he said.
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