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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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Shower, shelter, swipe: Israel’s ‘startup nation’ meets Iran war with a wave of apps
(JTA) — TEL AVIV — Smartphones have become as essential as shelters for Israelis riding out Iran’s missile attacks, with internet traffic up 25% since the war began on Saturday. From the screaming alerts of the military’s official app that, as one comedian put it, sound like a “baby dragon giving birth,” to bomb-shelter Tinder to multiple apps that tell you when it’s safe to shower, the startup nation is trying to digitize the panic into something more manageable.
At the serious end of the wartime app stack is Home Front Command, the Israeli army’s app available in Hebrew, Arabic, Russian and English. It uses GPS to figure out where you are and only pings you when your area is at risk, with separate alerts for rockets, missiles and terror incidents. In this war, Iran’s long-range fire has come with an extra layer of notice, a warning-before-the-warning that can buy people a few more minutes. The shorter-range threats from Hezbollah, which joined the fray on Tuesday, do not come with that same courtesy.
Bomb Shelter Locator turns shelter-seeking into a map exercise, listing around 20,000 official sites, offering offline city maps and walking routes, and estimating the time it will take to reach the nearest protected space.
For anyone who cannot sprint, Purple Vest tries to close the gap. People with disabilities or older residents can register in advance and request help during alerts, with volunteers using the app to locate them and assist with shelter access or urgent supplies.
For others, shelters are turning into accidental social spaces where people can meet-cute on a mattress. The Hooked app, originally built for speed-dating at events, now doubles as a bomb-shelter icebreaker. Shelter-goers post a QR code at the entrance, and singles who scan it can see who else in the same bunker has the same relationship status. US Ambassador Mike Huckabee — who has not been single since high school — shared it on X alongside the caption: “Someday they will tell their kids ‘we met on a dating app in a shelter while dodging ballastic [sic] missiles.’”
But for some, even showering has become its own risk calculation. Martine Berkowitz was one of many who vented after her attempts to scrub up were interrupted by missiles no less than five times on the second day of the war.
For software developer Ben Greenberg, a father of teenagers, Berkowitz’s complaint was familiar, so he built an app called Best Shower Time that spits out a percentage risk score on whether a shower is likely to be interrupted by an alert.
Posts about it spread on social media and what began as a tool for his family is now drawing about 5,000 visitors a day. Greenberg, a California native who immigrated to Israel from New York in 2018, insists it’s “not a joke app.”
“Sirens are just the ultimate example of lack of control in one’s life,” he said, describing the app as a way to “restore some level of control and predictability … in a time when that feels most vulnerable and most taken away from us.”
The app uses real-time alert data from the Home Front Command, and the score is based on four inputs: how long it has been since the last alert, the average gap between alerts over a six-hour window, whether the frequency is trending up or down, and the total alert count over the past 24 hours. Those are weighted into a single score that appears when you open the app.
Users can then set their own parameters, including how long a shower typically takes and how much buffer time they want afterward to dry off and reach shelter.
And for those who have a penchant for extended bathroom breaks, Greenberg added a separate option that relies on the same logic.
It’s not the only app homing on issues of basic cleanliness to emerge this week. Another app, Can I Shower Now?, has developed a following of its own.
Berkowitz said she was “grateful” for apps to help her navigate the question of whether to jump in the shower. After checking and seeing a 13% chance of a missile alert on Wednesday afternoon, she decided to risk it.
“I took a full 20-minute hot shower and washed my hair. It was lovely. And the next warning only came when I was finished and getting dressed,” she said.
Greenberg is piloting a new app, called Best Walking Time, based on the same principle and prompted by his wife, who regularly walks around the neighborhood during work calls but has been afraid to stray from home lest a missile head their way.
The post Shower, shelter, swipe: Israel’s ‘startup nation’ meets Iran war with a wave of apps appeared first on The Forward.
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Gavin Newsom says some ‘appropriately’ call Israel an ‘apartheid state’ while questioning US military aid
(JTA) — California Gov. Gavin Newsom provided sharp criticism of the Israeli government during an interview this week, suggesting that he agreed with claims that it is an “apartheid state” and questioning U.S. military aid to the country.
Newsom, a likely 2028 presidential candidate, offered his rebuke of the Israeli government during an event on Tuesday with the hosts of “Pod Save America,” a political podcast, while promoting his new memoir, “Young Man in a Hurry: A Memoir of Discovery.”
During the conversation, while suggesting that Israel’s alleged influence over the United State’s strikes in Iran was “pretty damn self-evident,” Newsom took aim at Israeli Prime Minister Benjamin Netanyahu.
“The issue of Bibi is interesting because he’s got his own domestic issues. He’s trying to stay out of jail, he’s got an election coming up, he’s potentially on the ropes, he’s got folks, the hard line, that want to annex the West Bank,” said Newsom, adding that “others are talking about it appropriately as sort of an apartheid state.”
When a host of the podcast asked Newsom whether he believed the United States should consider “rethinking our military support for Israel,” the California governor replied, “It breaks my heart, because the current leadership in Israel is walking us down that path where I don’t think you have a choice.”
Newsom’s comments come shortly after the politician vowed he would “never” accept AIPAC funding, a stance that has increasingly become a litmus test for Democratic candidates amid record low support for Israel among its base.
While Newsom has been vocal in his critiques of Netanyahu in the past, saying earlier this year that he is “crystal clear in my love for Israel — and my condemnation of Bibi,” his latest comments signal a notable shift in tone as he adopts a more openly critical stance on Israel amid growing pressure from the Democratic party.
“I didn’t expect to be in that place, you know, a few years ago, let alone, you know, where we are today, and it’s accelerating in real time in a deeply, deeply alarming way,” said Newsom.
Calls to strip U.S. military aid from Israel have gained traction among progressive Democrats in recent months, with a record number of Senate Democrats voting to block weapons sales to Israel in July.
In January, Netanyahu said for the first time that he wanted to “taper off” U.S. military aid to Israel over the next decade, a goal that was quickly welcomed by South Carolina Republican Sen. Lindsey Graham as pockets of the Republican party have grown increasingly skeptical of U.S. aid to Israel.
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Andrea Weiss, trailblazing Reform rabbi who merged scholarship and activism, dies at 60
(JTA) — Rabbi Andrea Weiss, a former provost of Hebrew Union College-Jewish Institute of Religion who made history as the first woman to ordain rabbis in the Reform movement, has died.
Weiss died on Tuesday surrounded by family at her home in Lower Merion, Pennsylvania, following a year-long battle with cancer. She was 60.
“Andrea brought lev shalem — a whole heart to everything she did,” Cantor Jill Abramson, HUC’s interim head of seminary and director of its Debbie Friedman School of Sacred Music, said in a statement. “Whether in a classroom or a hallway discussion, she has always been a model of what it means to live a life guided by scholarship and sacred purpose. We will miss her presence in these halls and hold her family in our prayers.”
Weiss’ death strikes another blow for the leadership of the Reform movement, which has also buried two leaders of HUC who died prematurely while Weiss worked there — Rabbi Aaron Panken, then the seminary’s president, in 2018, and Rabbi David Ellenson, its past president, in 2023. The school of sacred music, meanwhile, is named for another luminary of the movement who died prematurely at 59 in 2011.
Born on Sept. 9, 1965, Weiss was raised in San Diego where her family belonged to Temple Emanu-El. In 1987, Weiss received her bachelor’s degree from the University of California, Berkeley, and was ordained as a rabbi at HUC in 1993.
Weiss joined the HUC faculty in 2000 alongside Rabbi Lisa Grant, who served as the director of the school’s rabbinical program.
“There was actually four of us, four women, who started at the same time, and we really changed the whole gender balance of the faculty, which was very exciting and thinking about, long term potential of what that would mean for the culture of the school,” Grant told the Jewish Telegraphic Agency.
During her tenure at the school, Weiss led multiple initiatives including a curricular redesign, the launch of the Virtual Pathway for Rabbinical students and the creation of the Seminary Hebrew Program.
Weiss taught several courses at the school, including “The Poetry and Power of the Psalms,” “Literary Artistry of the Bible” and “Teaching Bible to Adult Learners,” a course she co-taught with Grant beginning in 2003.
“Rabbi Weiss has been a transformative presence at Hebrew Union College for more than two decades,” said the school’s current president, Andrew Rehfeld, in a statement. “Her scholarship, vision, and fierce commitment to the formation of Jewish clergy have shaped this institution in ways that will endure for generations. We are grateful beyond measure for her service and hold her and her loved ones in our hearts.”
Weiss received her PhD from the University of Pennsylvania in 2004, where her research centered on metaphor and biblical poetry, scholarship that informed her later work including her 2006 book, “Figurative Language in Biblical Prose Narrative: Metaphor in the Book of Samuel.”
In 2008, Weiss won the National Jewish Book Awards Book of the Year as the associate editor of “The Torah: A Women’s Commentary,” the first comprehensive collection of Torah commentary written entirely by female scholars. Sen. Elissa Slotkin chose the text to be sworn in on last year.
In 2016 and 2020, Weiss led a nonpartisan, interfaith initiative titled “American Values, Religious Voices” that brought together 100 faith leaders to write letters to former President Joe Biden and President Donald Trump as well as Congress during the first 100 days of their administrations. The letters were later published as two books.
Weiss described the initiative at the time as “a national, nonpartisan campaign created from the conviction that scholars who study and teach our diverse religious traditions have something important to say about our shared American values.”
Grant said Weiss offered a model of Jewish engagement that was validated by the ancient rabbis.
“There’s a great Talmudic debate about which is more important, which is greater, study or action, and the rabbis have this back and forth about it, and in the end, they conclude study because it leads to action,” Grant said. “She certainly lived that, that her study and her teaching led her to be an activist as well.”
In 2018, Weiss was appointed as HUC’s provost, becoming the first female rabbi to ordain rabbis in the Reform movement.
Grant said the honor was “extraordinarily meaningful and very heavy” for Weiss.
“She would make the time every year to meet individually for an hour with every single student, to hear about their story, their journey, their learning,” said Grant. “And she would craft that into a short blessing upon ordination.”
As news of Weiss’ death spread on Tuesday, many of her former students and rabbis whom she ordained eulogized her on social media.
“Rabbi Andrea Weiss helped me to grasp and appreciate biblical poetry in a way that nobody else could,” wrote Evan Schultz, the senior rabbi of Congregation B’nai Israel in Bridgeport, Connecticut, in a post on Facebook. “Her wisdom helped shape me as a rabbi and a writer. She was brilliant, kind, and genuine.”
Rabbi Binyamin Minich, the leader of Kehilat Daniel in Tel Aviv, recalled in a post on Facebook being a part of Weiss’ first ordination cohort.
“I remember this feeling of awe, understanding that our 2019 cohort of Israeli Rabbinical Program alumni would be the first ordained by a woman,” wrote Minich. “That meant the idea of women being rabbis settled fully in the Jewish contemporary life and ascended to a next level. It was the real proof of [lalmud velelemed leshmor vela’ashot] – ‘to study and to teach, to preserve and to act.’”
Rabbi Shira Koch Epstein, the executive director of Atra: Center for Rabbinic Innovation, recalled connecting with Weiss in 2019 in Jerusalem and hearing about a bar mitzvah project Weiss had helped organize for her son. The project brought his baseball team to Cuba, where they donated equipment and met with locals.
“It was a big project that they did that was really inspirational; it inspired my son, Ami, to do a baseball-related mitzvah project for his bar mitzvah,” said Epstein. “Definitely not as ambitious as theirs, but Rabbi Weiss really taught me both Torah and the living Torah, of how to turn what you care about and your interests into tzedakah and action in the world.”
Weiss is survived by her husband Alan; her two children, Rebecca and Ilan; her father, Marty; her siblings, Mitch, Laura and Roger; her sister-in-law Catherine; and her nieces, nephews and cousins.
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