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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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Workplaces open, schools remain shut — and Israeli parents pull out their hair over wartime Zoom classes
(JTA) — TEL AVIV — When news broke that Israel might gradually reopen schools in areas considered safe enough, Yael Daniel, a mother in Bat Yam in the missile-hit center of the country, joked that she was “moving north.”
The war has shut schools and pushed children onto Zoom learning while many parents, like Daniel, keep working. Trying to supervise remote lessons for her three children, ages 6 to 8, who have attention difficulties, while holding down a full-time job has turned each day into “a nightmare,” she said.
“These are kids that need to be in a serious routine, and they’re not, and it’s really hard. I’m suffering,” she said.
The strain intensified after the IDF’s Home Front Command allowed workplaces to reopen last week under updated wartime guidelines, even as the education system remained closed.
Israeli actress and mother of two Meshi Kleinstein was one of many parents who took to social media as the decision drew anger and disbelief. “What a delusional country. Who looks after the children when the parents return to work?” she said on Instagram.
In response to the outcry, Finance Minister Bezalel Smotrich announced Sunday that one parent in households with children under 14 would be allowed to take unpaid leave while the education system remains shut.
The move prompted further backlash from parents who say it effectively forces families to choose between supervising children at home and losing income.
And for some, like Zehavit, who was speaking from a bomb shelter during a siren in the central city of Jaffa, it didn’t make sense. “Just because my child is 14, does that automatically mean he’s fine to be alone and run to the shelter by himself in the event of a siren?”
Outside the shelter, another mother, Renana, said the arrangement has forced her to reorganize her workday around her son’s online classes.
“I have one child in first grade. Since the Zoom classes started I work less because he uses my computer,” she said.
“He has three consecutive hours with different teachers and I need to sit next to him so he can communicate with them, which means I’m listening to the whole lesson and not working.”
Claire Bloom Moradian spends her days shuffling her children between school Zooms, extracurricular Zooms and playdates just to approximate a routine. “It’s just chaos, I’m absolutely exhausted,” she said.
In a Facebook post, Rachel Sharansky Danziger recounted that the return to Zoom after Oct. 7 was “the straw that broke the camel’s back,” leaving her so overwhelmed that she called a mental health hotline at the time, unable to understand why “all the death, the kidnappings, the horror” had not broken her, but remote learning did.
Zoom had revived the helplessness of the Covid years, she said, with too few devices, constant technical glitches and children yelling that nothing was working — all against a backdrop of dread about what might be looming outside the apartment doors.
“I can be strong,” she had told the woman on the other end of the helpline. “I can be positive and supportive and encouraging and manage myself and the domestic and social arena around me with precision and strength and awareness of the needs of those around me. But I can’t do all of this while trying to solve dozens of technological problems every morning.”
Education Minister Yoav Kisch said on Monday morning that he is examining a gradual reopening of schools using a color-coded system, with institutions expected to resume first in areas classified as “yellow,” meaning places where security conditions and access to protected spaces would allow limited in-person learning, with parents responsible for getting children to school.
About 40% of Israeli schools cannot offer all of their students access to bomb shelters if a siren sounds, according to data released this week.
Kisch’s terminology was another reminder of the pandemic-era, in which cities were ranked by color according to infection levels, with tighter restrictions in “red” areas. On social media, some parents greeted Kisch’s proposal with weary sarcasm. “Ah, yes, the color chart. Because that went so well the first time,” one person tweeted in response.
Municipal leaders were divided over whether to implement Kisch’s plan. Haifa Mayor Yona Yahav said the city would keep schools closed for now, saying he had “no intention of endangering students, drivers, and teaching staff,” as officials weighed the risks of transporting children during ongoing alerts. Others signaled they would move ahead. Roy Levy, mayor of nearby Nesher, said schools would reopen in line with Home Front Command guidelines, calling a return to classrooms “an emotional and social need.” Jerusalem Mayor Moshe Lion also said he would partially reopen the city’s education system, citing the need for “a routine, an educational framework and meetings with friends and teachers.”
But by Monday evening, Kisch was forced to backpedal after the IDF’s Home Front Command said that wartime restrictions would stay in effect across the country, keeping schools shut for now. A limited reopening may be attempted again starting next week — or not.
In one of the darkest incidents to emerge from Israel’s forced return to Zoom schooling, a teacher in Jerusalem was attacked by her partner in front of her students during an online lesson. He struck her in the head and smashed objects in their home before being arrested, later telling investigators he had acted out of “feelings of jealousy.”
Reports of domestic violence in Israel tend to rise during periods of war and home confinement. Data compiled after Oct. 7 showed a 28% increase in calls to Israel’s welfare ministry hotline related to domestic violence, sexual abuse and child neglect during the first months of the war.
Not everyone viewed Zoom as futile. Nataly Peleg, a first-grade teacher, said the classes are less about academics than about giving children a welcome distraction — even if she does not compel her own children to join theirs.
“It’s not so much whether they learn or not,” she said. “It’s about being together for a bit and focusing on something that isn’t the sirens and the surreal situations around us.”
Some children find the classes comforting, she said, while others are simply waiting for them to end or do not join at all. Still, she said, many parents have told her they appreciate the effort. “If even a handful of kids feel a bit better, it’s worth it,” she said.
Daniel, for her part, is trying to keep things in perspective. Despite feeling “super overwhelmed,” she said she is thankful her family is safe.
“Things could always be worse,” she said. “I’m just grateful we are all OK.”
In her post, Danziger said she was passing on the advice the hotline counselor had given her more than two and a half years ago.
“Don’t. Don’t let distance learning control you,” she said, adding that “nothing terrible would happen if your kids don’t join some of the Zooms — or, to be honest, all of them.”
While “we parents may not be bombing Tehran or deciphering nuclear secrets right now,” she wrote, “the responsibility for our children’s education and the functioning of our homes is still in our hands.”
The post Workplaces open, schools remain shut — and Israeli parents pull out their hair over wartime Zoom classes appeared first on The Forward.
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Ted Cruz says GOP not ‘winning’ fight against antisemitism from figures like Tucker Carlson
(JTA) — WASHINGTON — Some speakers struck a hopeful note during an antisemitism symposium on Tuesday morning hosted here by the Republican Jewish Coalition and National Review.
Ted Cruz was not one of them.
“Norm [Coleman, chair of the RJC] just said that we are winning. And I applaud him for that, because I want us to be winning,” Cruz said. “But I’m not sure it is accurate as a descriptive matter that we are winning right now.”
Cruz was referring to an ongoing battle within the Republican party over figures like Tucker Carlson and Candace Owens, conservative influencers who’ve spread antisemitic conspiracy theories.
It wasn’t the Texas senator’s first time speaking to the RJC crowd with grave warnings about right-wing antisemitism and anti-Israel rhetoric. He called antisemitism “an existential crisis in our party” at the RJC’s annual summit in November, which was held shortly after Carlson gave a friendly interview to avowed antisemite Nick Fuentes.
Four months later, Cruz’s speech served as a sobering follow-up: “This is the beginning of a battle where our nation, our beliefs, our Constitution, the principles that built America, are under assault. And we need to gird ourselves for battle and defeat this garbage,” he said Tuesday.
Cruz was far from the only speaker stressing the importance of rooting out right-wing antisemitism at the half-day symposium. The 100 or so attendees at the Museum of the Bible heard from speakers on how antisemitism is spread via social media, on policy responses to antisemitism, and why American exceptionalism is said to be inextricable from Jewish exceptionalism.
Cruz seemed to contradict Coleman’s assertion that “we are winning and they” — that is, “prominent polemicists” like Carlson, Owens and younger figures like Fuentes and Florida gubernatorial candidate James Fishback, who traffic in “ancient hatred” — are “losing.”
Nonetheless, Coleman said in an interview after the event, he and Cruz are on the same page.
“First of all, I’m an optimist. Second of all, I could understand Sen. Cruz’s concern,” said Coleman, suggesting that Cruz didn’t want to leave the impression that the GOP’s internecine battle over antisemitism was over and “this isn’t a fight that has to be fought.
“It has to be fought tooth and nail because it’s so critically important,” said Coleman.
He added, “We haven’t won the fight. I think we’re winning the fight — and by the way, that’s shown in the fact that 85-90% of Republicans are on our side.”
Still, Coleman — who said in his public remarks that they are “not fringe figures whispering in dark corners,” and that they “have large megaphones” — later dismissed Carlson, Owens and Fuentes as being “fringe voices on our side.” Cruz, on the other hand, said during his remarks that antisemitism “is gaining real purchase, especially with young people.”
“I don’t want to wake up in five years and find myself in a country where both major political parties are unambiguously anti-Israel and unapologetically antisemitic,” Cruz said. “And I think that is a real possibility. If Tucker and his minions prevail, that will happen.”
To stop that from happening, Cruz said Christian pastors need to fight Carlson “on theological grounds” by dispelling the replacement theory that Carlson “aggressively” pushes. He also said there should be an effort to “follow the money” because he suspects that “many of these influencers are cashing a check” from countries like Qatar, Russia and China, as part of “an operation to destroy America.”
Cruz was far more explicit in his condemnations of Carlson than he’d been in November, when he held back from using the former Fox News personality’s name.
“I believe Tucker Carlson is the single-most dangerous demagogue in this country,” Cruz said on Tuesday, drawing applause.
“And I’ll tell you,” he said, “I’ve made the decision that I’m going to take him on directly.”
The debate over antisemitism and figures like Carlson and Owens has roiled the American conservative movement. More Republicans have weighed in over the last few months, including Trump, who said last week that Carlson is “not MAGA” after the commentator criticized American and Israeli strikes on Iran. Meanwhile, Vice President JD Vance has not publicly denounced Carlson, drawing skepticism and growing impatience from some Jewish Republicans.
Cruz blasted his fellow Republicans who have not publicly condemned Carlson.
“Nick Fuentes is easy to denounce,” he said. “I actually think it’s a tell among Republican politicians — if they’ll denounce Fuentes but are scared to say Tucker’s name, that tells you a great deal.”
Cruz did not name any such politicians.
The post Ted Cruz says GOP not ‘winning’ fight against antisemitism from figures like Tucker Carlson appeared first on The Forward.
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‘Path to Normalization’: Lebanese President Turns on Hezbollah, Calls for Israel Talks
Lebanese President Joseph Aoun looks on during a meeting with Cyprus’ President Nikos Christodoulides at the Presidential Palace in Nicosia, Cyprus, July 9, 2025. Photo: Petros Karadjias/Pool via REUTERS
Lebanese President Joseph Aoun on Monday accused Hezbollah of dragging Lebanon toward becoming a “second Gaza” with its rocket attacks on Israel and called for negotiating a full ceasefire with Jerusalem, saying the launches served “the Iranian regime’s calculations” and risked “collapsing” the country.
Aoun’s remarks, among the most direct criticism of Iran-backed Hezbollah by a Lebanese president in years, accused the Islamist terror group of launching rockets as an “obvious trap” to lure his country back into a conflict with Israel.
“Whoever launched those rockets wanted to secure the fall of the Lebanese state, under aggression and chaos, even at the price of destroying dozens of our villages and the fall of tens of thousands of our people. For the sake of the Iranian regime’s calculations,” Aoun told European Commission President Ursula von der Leyen and European Council President António Costa in an online meeting.
Earlier this month, he added, the Lebanese government made “a clear and irrevocable decision” barring any military or security activity by Hezbollah.
An Israeli coalition of former diplomats, security experts, and business leaders called Aoun’s remarks a “courageous” and potentially “historic” opening by a Lebanese government seeking to disarm Hezbollah.
“Israel must seize the moment to create the necessary conditions for shaping a negotiated reality along the northern border — one that would constitute a significant strategic victory against Iran and further isolate it,” the Coalition for Regional Security said in a statement.
The group praised the “anti-Iranian Lebanese government” for seeking to disarm Hezbollah, but warned that “it is unable to accomplish this task alone.”
According to Lianne Pollak-David, the coalition’s founder, the current US-Israeli strikes on Iran were creating more space for Beirut to confront Hezbollah openly.
“The more Iran is weakened and isolated, the more the Lebanese government feels confident going directly and publicly against Hezbollah,” she told The Algemeiner.
But Pollak-David argued the Lebanese government could not disarm Hezbollah on its own and would need help from outside powers, including Israel. That, she said, would force Israel to walk a “very tricky fine line” to break Hezbollah on the one hand, without leaving Beirut to absorb the blowback by itself.
She called for “collaborating with the Lebanese government, leveraging all the regional coalition that has been formed around this war, and, under [US President Donald] Trump’s leadership, pushing for a new reality in Lebanon.”
Iran’s military and political incapacitation could even open the way to more regional peace agreements, she said.
“Everything is connected,” Pollak-David said. “The more Iran is isolated and the more its proxies are weakened, the more we’re seeing all the moderate forces in the region coordinating and collaborating,” increasing the chances of “Israel-Lebanese normalization and Israel-Arab normalization altogether.”
But Hezbollah expert Lieutenant Colonel (Res.) Sarit Zehavi offered a far more skeptical view, questioning whether Aoun’s remarks signaled any real change on the ground.
“I don’t see the difference between Aoun’s remarks now and his remarks when he was elected, except for the willingness to have direct negotiations with Israel,” she told The Algemeiner.
When Aoun took office in January of last year, he said Lebanon must eventually ensure weapons are held only by the state, but he also said repeatedly that this had to happen through dialogue, not confrontation.
“The biggest question at stake, which I don’t get an answer to, is whether Aoun’s army is willing to clash with Hezbollah, because that is what it will take to disarm it,” Zehavi said, noting Aoun’s fear that such a clash could lead to civil war.
She pointed to reports from Monday that Hezbollah operatives arrested while transporting weapons south were released almost immediately on token bail of $20, which she said showed how little appetite Beirut had demonstrated for a real confrontation with the terrorist group.
Zehavi, who founded the Alma Center — a research center that focuses on security challenges relating to Israel’s northern border — said Aoun would need to do far more than denounce Hezbollah or talk about state authority over weapons before Israel could treat his government as a real partner. The first step, she said, was for his government to formally outlaw Hezbollah and take concrete action against it.
“I will be much more convinced in Aoun’s good intentions if he designates Hezbollah as a terrorist entity,” she said. “Meanwhile, I don’t think we should negotiate with this Lebanese government.”
Until then, she said, Israel should keep up its attacks on Hezbollah, particularly south of the Litani River, located roughly 15 miles from the Israeli border.