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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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UK threatens sanctions after Israel opens bids for E1 settler homes
(JTA) — JERUSALEM – The United Kingdom threatened to sanction Israelis involved in West Bank settlement expansion after the Jewish state’s Lands Authority opened bids for 1,234 homes in the largely underdeveloped E1 section of the West Bank settlement of Ma’aleh Adumim.
Construction in E1 “would cut across the heart of Palestine and risks separating the West Bank from East Jerusalem, which would endanger the viability of a two-state solution,” the British Foreign Secretary Ed Miliband said in a special statement he posted on X on Thursday.
Targeted sanctions, Miliband wrote, would be part of a series of measures his government would take. His office also summoned Israel’s charge d’Affaires Thursday to demand a closure of the bidding process, which first opened on Tuesday, and a withdrawal of the construction project altogether.
“Britain will not stand back and accept the destruction of the two-state solution,” he wrote. Miliband has held his position for a month and is part of the new leadership Labour Prime Minister Andy Burnham appointed when he took office in July.
Israel’s Foreign Minister Gideon Sa’ar attacked Miliband on X, stating that Britain’s “decision to damage the relationship between our countries is deeply unfortunate.”
He said that the U.K. government’s “systematic policy of blaming only Israel while ignoring Palestinian extremism has already contributed to a massive wave of antisemitic hatred and attacks against the British Jewish community.”
The Jewish people have the same right to “live throughout the Land of Israel” just as the British people have a right to live anywhere in the U.K., Sa’ar wrote.
Plans to expand the built-up area of Ma’aleh Adumim settlement by constructing some 3,400 housing units on a largely underdeveloped hilltop within the city’s boundaries have been in place since 1994 when Yitzhak Rabin was prime minister.
Israel mostly froze those plans under pressure from the international community, including the U.S., with many countries warning that building homes in E1 would harm their diplomatic ties with Israel.
Prime Minister Benjamin Netanyahu began to advance the project in earnest in 2012 to protest the United Nations General Assembly decision to grant the Palestinians the status of a non-member state and has since pushed the project forward in spurts, particularly during election seasons.
The publication of the bidding process for the homes was first announced on Tuesday and is set to close on Oct. 19, one week shy of the Israeli elections on Oct. 27. Opening the bids is a move that plays well with Netanyahu’s right-wing voter base, which opposes Palestinian statehood and believes that settlements like Ma’aleh Adumim and the E1 area should be annexed into sovereign Israel.
But the move reverberated globally, with the U.K. signing onto a joint condemnation by France, Germany, Italy, the Netherlands, Norway, Belgium, Sweden, Australia, New Zealand and Canada, in which they warned that settlement building in E1 distanced peace and undermined the country’s international standing.
They also reminded businesses who might bid for E1 construction that they could face legal or reputational consequences, given that such companies could be in breach of international law.
Palestinian Authority Vice President Hussein Al-Sheikh said he welcomed the condemnation, explaining on X that such a position “reflects the importance of the international role in confronting settlement activity and safeguarding the two-state solution.”
This article originally appeared on JTA.org.
The post UK threatens sanctions after Israel opens bids for E1 settler homes appeared first on The Forward.
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Argentina removes federal judge over antisemitic remarks in historic first
(JTA) — An Argentine federal judge was removed from office Tuesday for a series of antisemitic posts on his social media accounts that constituted misconduct incompatible with his role, an impeachment panel ruled.
Alfredo Eugenio López, who headed Federal Court No. 4 in the coastal city of Mar del Plata, was removed by Argentina’s Jury of Impeachment, a special panel composed of judges, lawmakers and lawyers.
It is the first time in Argentina’s history that a judge has been removed over antisemitic remarks.
In López’s social media posts, the judge referred to the Jewish people as “a brood of vipers,” Israel as a “fictitious state” and Argentinian Jews as “foreigners.” He has also used such terms as “Zionist” and “gay” as insults.
According to the panel, the judge committed acts of “discrimination and the denial of equal rights against the Argentine Jewish community. For the purposes of these proceedings, it is particularly significant that, by acting in this manner, he shattered public confidence in his continued fitness to administer justice impartially.”The case reached the panel through Argentina’s Council of the Magistracy, based in Buenos Aires, the constitutional body responsible for the selection and discipline of federal judges.
The first complaint against López was filed in February 2025 by the Delegación de Asociaciones Israelitas Argentinas, which is the umbrella organization representing Argentina’s Jewish community. One month later, the Argentine Forum Against Antisemitism also filed a complaint. In July 2025, attorney Yamil Santoro from Apolo Foundation added another one.
In his defense, López argued that his messages were “ subjective and decontextualized interpretations of exchanges on social media, which in no way affect the administration of justice or his impartiality” as a judge. He added that his remarks were unrelated to any pending case and that he had never been recused or removed from any judicial case.
Neither Lopez nor his attorney were immediately available for further comment.
“He was removed because he simply would not stop engaging in hate speech,” jury member Alberto Maques said during a live interview Tuesday on the A24 news channel. “It is absolutely disgraceful for a federal judge to engage in this kind of conduct.”
Maques said there were 15 social media posts that he acknowledged, but more than 50 posts in which he said “outrageous things that are not worth repeating because they truly constituted hate speech.”
“This is not merely an issue of hate speech against the Jewish community. This is someone who lacks common sense,” he added, interviewed by A24 news channel.
Prosecutors in the impeachment proceedings argued that the messages were not isolated political comments but reflected a pattern of hostility toward Jews, Zionism, and the State of Israel.
“No position of authority can shield hatred. This is not a matter of punishing an opinion. It is about sanctioning repeated conduct involving antisemitism, hostility and dehumanization, conduct incompatible with the impartiality, dignity and public trust required of the judiciary,” DAIA said Tuesday in a statement.
“This case sets a precedent: for the first time in more than a century, DAIA initiated proceedings of this nature against a judge. No office is above democracy.”
This article originally appeared on JTA.org.
The post Argentina removes federal judge over antisemitic remarks in historic first appeared first on The Forward.
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California progressive Wahab defeats AIPAC-backed Hernandez in close race
(JTA) — California progressive Aisha Wahab defeated AIPAC-backed moderate Melissa Hernandez in a congressional runoff this week, capping off a contest that had become unexpectedly tight after the pro-Israel lobby entered the fray.
The Associated Press called the race between the Democrats — who were vying to replace a disgraced former Rep. Eric Swalwell — a full two days after polls closed, when Wahab secured 53.1% of votes to Hernandez’s 46.9%, with 95% of ballots tallied. The gap between them grew by four percentage points from Tuesday evening, when Wahab had held a narrow 51% lead to Hernandez’s 49%.
“We stayed focused on the people, and I will fight for this district that raised me,” Wahab said in a Thursday statement, noting her journey “from foster care to Congress” in her East Bay community.
Although Wahab ended up victorious, the narrow initial margin on Tuesday shocked California’s 14th District, given that she had secured a double-digit lead in preliminary races two months ago.
But in the past few weeks, an unforeseen variable appeared to influence the trajectories of the two campaigns: a massive spending push from the American Israel Public Affairs Committee aimed at turning the tides for Hernandez.
Since the beginning of August alone, AIPAC’s super PAC, the United Democracy Project, and other affiliated groups spent more than $2.5 million on both boosting Hernandez and denigrating Wahab with negative ads and mailers, according to Federal Election Commission filings.
“This was not a landslide for Wahab by any means,” local Democratic strategist Noah Finneburgh, who is not affiliated with either candidate, told the Jewish Telegraphic Agency.
“They narrowed the gap for sure,” Finneburgh added, referring to AIPAC. “They spent millions of dollars attacking Wahab very aggressively.”
These attacks, he explained, did not involve Israel and instead focused on divisive issues for the Bay Area, such as public safety and protecting kids.
“Negative advertising with a persuasive message can be very effective,” Finneburgh said.
In her Thursday night statement, Wahab declared that her “district cannot be bought,” describing the race as “one of the ugliest, most expensive elections we’ve ever seen.”
Prior to this influx of cash and related ads, neither AIPAC nor Israel had played a significant role in this short-lived race — which began in April following Swalwell’s resignation over allegations of sexual assault.
When the district held a special primary to seek Swalwell’s replacement on June 16, Wahab and Hernandez finished as the top-two candidates and moved on to this week’s special general runoff election.
California primaries are “nonpartisan” or “top-two” races, in which the two highest ranking candidates move on to the general election, irrespective of their parties. The top-two in this case were both Democrats, like Swalwell, in a district that the Cook Political Report deems solidly blue.
Even though Wahab will now finish the remainder of Swalwell’s term, she will have to compete with Hernandez again in the November general election for a full term that begins on January 3, 2027.
In a June 16 special primary that preceded this week’s runoff, there was still a massive gap between the two candidates, with Wahab accruing 42.8% of the votes, compared to Hernandez’s 16.8%. A separate primary for the November race, which occurred two weeks earlier, placed Wahab at 38.3% and Hernandez at 17.2%.
Wahab, who will be the first Afghan American in Congress, has focused on affordability, civil rights, education and climate change. Her campaign calls for an end to wars and “prolonged occupations” but only specifically calls out U.S. military activity in “Afghanistan, Iraq, Syria, Libya, Yemen, Pakistan, Somalia, and elsewhere.”
Though Wahab has been critical of Israel and its operations in Gaza, she has not been as vocal about the issue as many other progressive colleagues nationwide. She responded “yes” when asked if Israel was committing genocide in a primary debate, but she didn’t include Israel or Gaza in her campaign priorities.
During a recent appearance on far-right influencer Hasan Piker’s livestream, Wahab acknowledged that “it’s not a zero-sum game in the Middle East,” adding that “we can care for all people.” She also referenced a resolution she introduced last year in the California legislature, pushing for a ceasefire in Gaza but also condemning Hamas and demanding the release of the hostages.
“We talk about both Palestinians and the Israeli victims there,” Wahab told Piker. “We talk about holding the perpetrators accountable from both sides.”
Asked if she was in favor of “ending all U.S. aid to Israel,” she responded “yes,” while stressing that “humanitarian aid is important to me, too.”
Wahab has earned the backing of multiple labor unions, the California Democratic Party and Our Revolution, the group formed by Sen. Bernie Sanders to advance the progressive movement. The liberal pro-Israel group J Street also recently invested $108,000 in her campaign, according to the FEC. American Priorities, a pro-Palestinian PAC, also spent at least $200,000 on supporting her.
Hernandez has received endorsements from several police and fire unions, as well as Democratic Jewish Reps. Lois Frankel of Florida and Brad Schneider of Illinois.
Come November, Hernandez will gain one additional asset. Due to statewide redistricting, the 14th District will gain about 26,000 new voters from Dublin, where Hernandez previously served as mayor, the San Francisco Chronicle reported.
But Finneburgh said he believes that Hernandez has only a minimal chance of winning that race, especially because Wahab will be heading into that election as an incumbent.
He also suggested that if “she plays her card right,” Wahab could even take some endorsements away from Hernandez.
“There’s going to be people who are going to probably move over from the Hernandez camp and back her,” Finneburgh added. “It’s going to be hard to unseat her.”
This article originally appeared on JTA.org.
The post California progressive Wahab defeats AIPAC-backed Hernandez in close race appeared first on The Forward.
