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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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Palestinian-American to challenge John Fetterman for Senate seat in 2028
(JTA) — Ahmed Moor, a Palestinian-American writer who has worked with anti-Zionists, is the first Democrat to challenge Pennsylvania Sen. John Fetterman in the 2028 primary.
Fetterman, who has faced sharp criticism from within the Democratic Party for his staunch support for Israel’s military campaign in Gaza, has yet to announce whether he plans to run in 2028. A defeat or retirement would remove one of the Democratic caucus’s most pro-Israel voices.
Moor, 42, enters the playing field with radically different positions on Israel, and on foreign policy in general, from those Fetterman has promoted. Claiming that the United States “funds wars based on corruption and lies and has turned its back on its own people,” Moor pledged on his campaign website to ensure “this never happens again.”
Moor, born in Gaza, moved as a child to Philadelphia, where he earned his undergraduate degree from the University of Pennsylvania. He completed a master’s degree in public policy from Harvard. He switched from finance to journalism, reporting in Beirut and Egypt for The Guardian and other outlets, and co-editing the book “After Zionism: One State for Israel and Palestine.” He also spent many years in Jordan, where he launched a peer-to-peer lending organization, before moving back to Philadelphia in 2021.
“A few years ago my birthplace was turned to rubble in a genocide funded by our tax dollars,” Moor stated, saying that this has occurred “with the support of politicians on both sides of the aisle who can’t find money for transit or removing asbestos from our schools.”
Moor, who has served on the Philadelphia Democratic City Committee, has never held public office. He says he is determined to address corruption, affordability, foreign policy and constitutional authority, according to The Philadelphia Inquirer, which first reported his candidacy.
Moor told the Inquirer that he was “not really running against Fetterman” but instead “running for the rule of law.” He acknowledged that he would face an “uphill battle” against Fetterman, who took office in January 2023.
Fetterman has irked some fellow Democrats by siding with Republicans on numerous issues, especially on Israel. He has also drawn praise from the pro-Israel community and Israel’s leadership. With Democrats securing a Senate majority of at least 54 seats, including two independents who caucus with the party, Democratic leadership will be less dependent on Fetterman’s vote when the new Congress convenes in January.
This article originally appeared on JTA.org.
The post Palestinian-American to challenge John Fetterman for Senate seat in 2028 appeared first on The Forward.
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Northwestern launches civil rights investigation into club that banned pro-Israel group from its food festival
Northwestern University’s Office of Civil Rights is investigating a club that said it canceled its annual “Cultural Food Fest” after students objected to its initial inclusion of a pro-Israel student group.
Spoon University Northwestern, a student-run food magazine, wrote in an email to students that it was calling off its Nov. 6 food festival because of concerns about the participation of Wildcats for Israel, a club housed within Hillel that describes itself as focused on Israeli culture and society.
“There’s been a lot of disappointment expressed in and around Hillel today,” Michael Simon, executive director of Northwestern Hillel, told the Forward on Friday. “What should be an opportunity for connecting across differences and having really positive engagement got turned into a sort of political catfight.”
Students involved with Wildcats for Israel were initially “really excited” to participate in the fest, Simon said.
But amid student backlash, Spoon reversed course and disinvited Wildcats for Israel, Simon said. In a statement posted to Instagram, Spoon cited “the ongoing genocide in Gaza” to explain the group’s removal.
Yet even that exclusion was not enough for some student organizations. Northwestern’s Asian Pacific American Coalition; Alianza, the Latinx student alliance; and the Middle Eastern North African Student Association, issued a joint statement saying that they were withdrawing from the fest because of the original inclusion of Wildcats for Israel.
“A ‘culture’ born from the active land theft and genocide of Palestinians should not be recognized,” the student groups wrote on Instagram.
Spoon then cancelled the event altogether.
Now, Spoon’s status as an officially registered student organization has been frozen while the investigation into allegations of discrimination is being conducted, a Northwestern spokesperson wrote in an email to the Forward.
The investigation comes as Northwestern faces additional obligations to address and report allegations of antisemitism as part of its $75 million settlement with the Trump administration in November 2025. As part of the agreement, the university pledged that its Office of Civil Rights would publish annual reports with data about complaints of antisemitism, including investigative and disciplinary actions taken.
Spoon did not respond to the Forward’s request for comment.
In its email to students, Spoon said Wildcats for Israel was removed because of its status as “a political action group, not a cultural organization.”
Simon pushed back on that characterization of the club. “They’re not engaged in political advocacy or political work, certainly not in their current iteration,” Simon said. “They’re really focused on doing cultural and educational programming, connecting with Israel and with the Israeli people.”
The idea that Wildcats for Israel is considered political, while other student organizations opposing Israel are not, “appears to be a real double standard,” Simon said.
Still, Simon said the cancellation did not prevent Wildcats for Israel from having its own cultural food event — inviting students to the Hillel building on Friday to talk about what had happened over slushies in two flavors popular in Israel, limonana and iced cafe.
“They’re really turning to a place of being in community and supporting one another,” Simon said.
The post Northwestern launches civil rights investigation into club that banned pro-Israel group from its food festival appeared first on The Forward.
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Israel’s love affair with Trump may be over – with no other suitor in sight
Israelis were among the few groups outside America who genuinely liked Donald Trump, and they had persuaded themselves that the feeling was mutual. Now, as the American president pledges to terminate military assistance and blames Israel’s unpopularity for the Republicans’ electoral humiliation, they are confronting the possibility that their greatest supposed friend may become one of their gravest strategic liabilities.
In a 2025 Pew Research Center survey of 24 countries, 69% of Israelis expressed confidence in Trump to do the right thing in world affairs. Israelis saw a champion where much of the democratic world saw a menace.
Israelis, who tend to be more direct and plainspoken than other Western societies, were less inclined to be scandalized by Trump’s personal shortcomings. But mainly it was policy that made him so popular: Trump moved the American embassy to Jerusalem, recognized Israeli sovereignty over the Golan Heights and cultivated a conspicuously warm relationship with Prime Minister Benjamin Netanyahu, despite his increasing toxicity around the world. Trump opposed Hamas and ultimately joined Israel in attacking the Iranian regime.
Still, warning signs were there – in the displays of U.S. dominance over decisions in the 2025 and 2026 Iran confrontations and in the Election Day announcement last week that Trump plans to terminate roughly $4 billion in annual military assistance to Israel this year.
The announcement threatened a cornerstone of Israeli security planning established under Barack Obama, whose administration negotiated a 10-year, $38 billion assistance agreement extending through 2028.
The precise legal and financial consequences remain uncertain, not least because Congress controls appropriations. But the political significance is unmistakable: The president whom Israelis regarded as their most dependable protector was proposing to dismantle an arrangement that even administrations regarded as unfriendly to Netanyahu had sustained.
Moreover, the aid is far more than a gift. Its greatest value is not financial but geopolitical: the unmistakable message to Israel’s enemies that Washington stands behind it.
As the dismal election results became clear, Vice President JD Vance highlighted a supposed demand among disaffected Republican voters to “change our relationship to Israel,” placing the alliance itself among the issues requiring political reassessment.
In Sunday’s 60 Minutes interview, Trump went further, identifying what he called a “great dislike” for Israel as one factor in the Republican electoral defeat.
Trump certainly has a point. A 2026 Pew survey found that 60% of Americans viewed Israel unfavorably, up from 42% in 2022, including 57% of Republicans under 50. Gallup found that, for the first time in its 25-year tracking, Americans were no longer more sympathetic to Israelis than Palestinians: 36% favored Israelis, compared with 41% for Palestinians. The longstanding bipartisan consensus is unraveling. Among younger Americans, the situation is even worse.
Whether the reason is a global propaganda campaign against Zionism, social media manipulation, Netanyahu and his noxious far-right allies, or Israel’s actions in Gaza and the West Bank are almost beside the point – the collapse in Western and U.S. opinion is undeniable.
Trump also asserted that “those countries that we’ve protected” from Iran – meaning Israel – “wouldn’t exist” without the U.S. and “are going to pay us back any and all costs that we’ve had for the war,” which was another major surprise and mystery that caught Israelis off-guard.
Whether this implies a demand that Israel reimburse the United States, and for precisely what, remains unclear. What is clear is that Trump has begun discussing a relationship Israelis considered existential in the language of electoral liabilities and financial transactions.
Writing in Maariv on Monday, veteran Washington correspondent Shlomo Shamir reported that senior Washington commentators described Netanyahu as having become effectively persona non grata in Trump’s inner circle – and that Trump’s seeming affinity for Netanyahu was “more a media relationship than a genuine friendship.”
The change in atmosphere in Israel has been extraordinary.
On Monday, Israeli television seemed preoccupied with little beyond the coalition negotiations following Israel’s election and the growing fear that the country might lose its most important international relationship.
Appearing on Channel 13, I argued that another Netanyahu government would have faced economic sanctions from Europe and even serious discussion of an American weapons embargo. This provoked very little disagreement.
“Netanyahu put all his chips on Trump, and it’s falling apart,” observed anchor Daniel Zilberstein. “It wasn’t only him, but the entire system,” replied Omri Rolls, an expert in monitoring and countering anti-Israel propaganda. “We put all our attention on the United States. Europe, we’ve completely given up on. All over the world, important elements are simply not on Israel’s agenda.”
The alarm was loud and clear this week across the Israeli political and diplomatic establishment.
Tovah Herzl, a former Israeli diplomat who served in Washington as liaison to Congress, captured the predicament in the title of her article in Maariv: “Netanyahu Bet on Trump — and Israel Could Lose Far More Than Money.”
“Israelis are unaware of the depth of the hole into which the country has fallen,” wrote Yedidia Stern, a leading expert on Israel-U.S. relations, in Ynet. “The hourglass has been turned over: we have two years to regain the legitimacy that has been lost” before a Democrat potentially wins the White House.
Ashley Perry, a former senior Israeli government adviser, wrote in The Jerusalem Post that Israel must urgently start arguing its case – “consistently demonstrating what Americans gain” in intelligence cooperation, joint defense development, investment, trade and Israeli contributions to scientific and technological progress.
Beyond all that, there is a general understanding that Israel will need some real policy changes – for example, cracking down on Jewish extremists in the West Bank. And it will need to court the U.S. Democrats and the Europeans once more – as it did decades ago.
There is a grim lesson at play, and it has more to do with morality than ethics.
Israelis are people badly traumatized by the conflicts that implacable enemies have forced on them. Over the decades, however, they took some pride nonetheless in what they believed was a moral high ground. It’s safe to say this has eroded, at least somewhat.
In a reflection of that erosion, one of Trump’s greatest attractions to Israelis – sadly enough – was his indifference to Palestinian human rights, an issue that had long complicated Israel’s relations with more conventional Western leaders. Trump was clearly untroubled by the West Bank occupation, the expansion of settlements or the absence of a credible political horizon for millions of Palestinians. In February 2025, he even proposed removing Gaza’s Palestinian population in its entirety and placing the territory under American control, a scheme whose breathtaking implications seemed scarcely to concern him.
Many Israelis overlooked the dark aspects of such absurdities, seeing only evidence of exceptional friendship. They overlooked the possibility that a president so utterly uninterested in Palestinian rights might also prove indifferent to Israeli interests whenever they ceased to coincide with his own.
They celebrated his willingness to discard diplomatic conventions – or even basic human decency – when it worked in their favor. They are discovering now that sometimes cliches are true: What goes around comes around.
The post Israel’s love affair with Trump may be over – with no other suitor in sight appeared first on The Forward.
