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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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The Iran War: Peace Through Strength
Mojtaba Khamenei, the second son of Iran’s Supreme Leader Ayatollah Ali Khamenei, visits Hezbollah’s office in Tehran, Iran, Oct. 1, 2024. Photo: Office of the Iranian Supreme Leader/WANA (West Asia News Agency)/Handout via REUTERS
George Washington once observed, “To be prepared for war is one of the most effective means of preserving peace.” And as it turns out, sometimes the best way to preserve peace is to go to war — and finish the job.
Until October 2023, Israel — and, to a large extent, the United States as well — operated under a doctrine that seemed sensible enough: avoid war whenever possible, and when provoked, respond in a limited, carefully measured way.
When rockets were fired, Israel retaliated just enough to signal displeasure. When terrorist leaders threatened destruction, their words were dismissed as overheated rhetoric, aimed at rallying an eager audience of haters rather than signaling an intention to wage war. And when enemies amassed weapons, the assumption was that overwhelming military superiority would deter their use.
The theory behind this approach was simple. Escalation is dangerous, and war is costly — financially and, of course, in human lives. Restraint, it was believed, would keep life relatively stable. Israel responded when necessary, but always carefully, operating on the assumption that a rap on the knuckles would be enough to signal that continuing attacks was a bad idea.
The problem, as October 7 revealed with horrifying clarity, is that not every enemy shares this logic. For some enemies, it isn’t about equilibrium or stability; it’s about inflicting violence on those you hate — again and again, without pause or restraint.
For decades, Israel’s main adversaries — Hamas, Hezbollah, and above all the Iranian regime — made their intentions clear. Their slogans were blunt: “Death to Israel,” “Death to America.” Israel, like much of the West, preferred to believe these words were exaggerations, not literal plans.
And so life went on. Gaza was tolerated as a hostile enclave, and every so often Israel “mowed the lawn.” Hezbollah, entrenched on Israel’s northern border with tens of thousands of missiles, was considered a threat that would never fully materialize. Iran, distant and absorbed in its own problems, was seen as dangerous but manageable.
The hope was that monitoring, occasional strikes, persistent warnings about a nuclear Iran, and deterrence would prevent catastrophe.
Then came October 7. The brutal massacre on Israel’s southwestern border shattered those assumptions. The belief that terror groups and their backers could be contained collapsed overnight. The idea that economic incentives or agreements might moderate radical regimes suddenly looked naïve.
Israel — and under President Trump, the United States as well — realized something fundamental: you cannot coexist with movements or regimes whose very purpose is your destruction. The rules of the game have changed.
The new doctrine is simple: if terrorists and radicals are running for their lives, they cannot threaten yours. When those plotting your destruction are forced onto the defensive, their ability to act collapses.
Over the past two years, the consequences of this shift have been dramatic. Hamas’s military structure has been dismantled and its leaders eliminated. Hezbollah’s leadership was taken out, and much of its vast missile arsenal destroyed.
And now, in a stunning development few would have imagined possible even a month ago, the Iranian regime itself has suffered devastating blows — its supreme leader eliminated in a precision strike and the IRGC crippled.
For decades Iran acted as the conductor of the anti-Israel, anti-America orchestra, funding and arming terror movements across the region while feverishly pursuing a nuclear weapon. The regime assumed it could operate safely behind its proxies, directing violence from afar while remaining immune to consequences at home. That illusion has now been shattered.
What Israel has finally rediscovered is an ancient truth: when there is a serious threat, delay is dangerous. It must be confronted quickly and decisively. This principle is not only a lesson from modern security doctrine; it has deep roots in Jewish tradition, vividly illustrated in Parshat Ki Tisa.
The central drama of this portion is the catastrophic episode of the Golden Calf. After forty days of waiting for Moses to descend from Mount Sinai, something shifts in the Israelite camp. Egged on by the pagan hangers-on who joined the Israelites during the Exodus, the people demand a replacement leader, and within hours they have constructed a golden idol.
Interestingly, most of the nation did not actively participate. They stood on the sidelines as this shocking desecration of the covenant with God unfolded before them. Perhaps they assumed it didn’t really affect them — that life could continue as normal as long as the upheaval remained confined to a relatively small group.
But when Moses descends the mountain and sees what has happened, the Torah describes an extraordinary sequence of events. Moses does not attempt to “mow the lawn.” He does not deliver a carefully calibrated response. He does not negotiate with the idolaters or seek a diplomatic compromise. Instead, he acts with stunning decisiveness.
First he shatters the tablets. Then he completely destroys the calf, grinding it into powder and scattering it on water. Then he confronts the people and demands that they make an immediate choice (Ex. 32:26): מִי לַה׳ אֵלָי — “Whoever is for God, join me.”
No equivocation, no wishy-washy middle ground: you are either with me or against me. The tribe of Levi rallies to him, and the rebellion is crushed before it can spread any further and cause irrevocable damage.
Commentators emphasize that Moses’ actions were not impulsive rage but deliberate leadership. The Ramban explains that breaking the tablets was meant to shock the nation into grasping the gravity of the situation.
Rav Hirsch observes that Moses’ call eliminated ambiguity: in moments of existential crisis, neutrality is impossible — one must choose. The Sforno adds that swift punishment of the instigators prevented the sin from becoming normalized. Moses understood what history repeatedly confirms: some crises must be confronted decisively.
Had Moses hesitated, what began as a limited aberration — serious though it was — might have metastasized into something far worse. If he had attempted compromise, or even hinted that the problem could be contained, the rot would have set in, and before long everything might have collapsed.
Instead, decisive action restored clarity. The Golden Calf was destroyed. Those who built it were eliminated. And then the covenant was renewed with a second set of tablets. The lesson is unmistakable: destructive forces must be confronted with overwhelming force before it is too late.
That pattern — crisis, decisive response, and renewal — recurs throughout Jewish history. In our own time there have been painful moments of reckoning. As a result, both the Western world in general and Israel in particular have had to rediscover the necessity of strength.
For far too long, the United States and Israel hoped that a cautious approach toward Iran and its proxies would stabilize the region. But peace and tranquility are not built on illusions. When a regime like Iran spends decades arming itself and its proxies while openly proclaiming genocidal ambitions, those ambitions cannot be ignored. If they are not confronted, the threat only grows — and eventually leads to disaster.
The war against Iran — aptly codenamed “Epic Fury” — may well be seen as a turning point. It marked the moment when the strategic assumptions that shaped the Middle East for decades were finally set aside.
The Jewish people learned long ago that survival demands difficult decisions and decisive leadership. For a time Israel drifted away from that mindset. But the ancient lesson still resonates — and has now returned with renewed conviction.
The lesson is clear: when those who threaten your destruction are confronted with resolve and strength, they can be defeated.
The author is a rabbi in Beverly Hills, California.
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Mahmoud Abbas Gave Direct Orders to Name Hall After Palestinian Hitler Ally
The Grand Mufti of Jerusalem, Haj Amin al-Husseini, meets with Adolf Hitler in 1941. Photo: German Federal Archives via Wikimedia Commons.
During World War II, Grand Mufti of Jerusalem Haj Amin Al-Husseini was a Nazi ally and an associate of Hitler, living in Germany from 1941 until the war’s end — and receiving funding from the Nazi government.
The Mufti also led the lethal 1936-1939 Arab Revolt, in which at least 400 Jews were murdered.
Now the Palestinian Authority (PA) has built and named a public hall after Al-Husseini — and none other than PA leader Mahmoud Abbas himself instructed PA officials about the naming, thereby making a public statement about which historical values the PA chooses to uphold.
When laying the building’s cornerstone, PA officials stressed that the naming of the hall is “out of loyalty to the great figures of our people”:
Text on sign: “Under the auspices of His Honor President
Mahmoud Abbas, may Allah protect him
President of the State of Palestine
His Honor Jericho and Jordan Valley District Governor Dr. Hussein Hamayel
And His Honor Jericho Mayor Mr. Abd Al-Karim Sidr
laid the cornerstone for the Mufti Haj Amin Al-Husseini Hall”
Under the auspices of [PA] President Mahmoud Abbas, yesterday, Sunday, [Feb. 15, 2026,] Jericho and Jordan Valley District Governor Hussein Hamayel and Jericho Mayor Abd Al-Karim Sidr laid the cornerstone for the Mufti Haj Amin Al-Husseini Multi-Purpose Hall …District Governor Hamayel emphasized that the laying of the cornerstone was done out of loyalty to the great figures of our people, and according to direct instructions from President [Abbas] regarding the need to commemorate the memory of the leaders and fighters. [emphasis added]
[Official PA daily Al-Hayat Al-Jadida, Feb. 16, 2026]
Deciding to put a specific person’s name on a public building is a deliberate statement of values. By elevating an individual like Nazi ally Al-Husseini, Abbas and the PA aren’t just labeling a hall — they are officially endorsing Al-Husseini as a hero for the entire community.
Haj Amin Al-Husseini was also featured at a PA event held under the auspices of PA Prime Minister Muhammad Mustafa, with numerous PA and Fatah officials in attendance, during the marking of the 150th anniversary of the private, coeducational Catholic school Collège des Frères in Jerusalem.
On a huge screen, organizers displayed an image of Al-Husseini. Al-Husseini was on Yugoslavia’s list of wanted war criminals, and was responsible for a Muslim SS division that murdered thousands of Serbs and Croats. When the Nazis offered to free some Jewish children, Al-Husseini fought against their release, and as a result, 5,000 children were sent to the gas chambers.
The author is a contributor to Palestinian Media Watch, where a version of this story first appeared.
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I First Experienced Antisemitism at Six Years Old; But We Must Never Let Hate Win
An Oxford student is seen chanting hateful slogans at Jews, during a pro-Palestinian march in central London, an incident captured on viral video that has drawn widespread condemnation. Photo: Screenshot
When I was six years old, my father founded Carmel College, and moved the family into the English countryside west of London. My father’s school initially only took pupils of a certain age. So, I was sent to a local Church of England village school with one teacher, located just outside the Carmel estate.
For the first time, I became aware of Christian antagonism when I was surrounded by other pupils, bullied, and told that I had killed Jesus. Even at six-years old, I had a mind of my own, and told off the other children. The teacher was furious, got in touch with my father, and insisted that he remove me from the school. Instead, he arranged for home schooling until I was able to join Carmel College.
Several years later, during school holidays, I would walk the three miles from the school to Wallingford, the nearest town, with enough pocket money to buy a ticket to the local cinema. When I got there, the manager told me that the price had gone up, and I didn’t have enough money to get in. I replied that I thought this was unfair and that as I had walked all this way, perhaps he could make an exception. But he replied that since I was a Jew, I should know all about money, because that’s all that mattered to Jews. It was another incident that reinforced my awareness that we were different and not very popular.
A few years later, when I was old enough to play on the school soccer team, we often went to play against non-Jewish schools. In almost every case, either our opponents or the local spectators would abuse us for being Jewish and often played rough either to test us or to express their antagonism. When I mentioned this to my father his response, surprisingly, was simply to tell us to repay them in kind.
The first debate I participated in at Cambridge University in the Union was on the biased subject of whether the Jews had any right to “take” the state of “Palestine” from the Arabs. I argued our case strongly and we won the vote. In those days, the voices of those who supported Israel’s right to exist were strong enough to win the argument.
I was always aware of anti-Jewish sentiment. But it was mainly low key, and I could hardly say that I suffered. Anyway, I had sufficient confidence in my Jewish identity not to let it get to me.
Later I became a rabbi in London and I accepted Chief Rabbi Jakobovitz’s invitation to become responsible in his cabinet for interfaith relations. For a few years I devoted myself to establishing good relations with the various Christian denominations and with Muslims, who at that stage were still relatively new to England and were grateful for the support and encouragement we gave them.
I enjoyed these interactions and conferences and the friendships, some of which I have to this day. But I soon became aware that the interfaith world comprised a small layer of intelligent, sensitive good men and women of all faiths. Although they got on well with each other, they seemed to have little impact on the vast majority of the members of their different religions who were still mired in prejudice and so I withdrew.
I mentioned all these little things because I am conscious of the fact that these small little things affected my sense of alienation, although I was also aware of how wonderful and rewarding the small acts of friendship and warmth were.
Many of our children will experience much more alienation than we had to. We have to fight more prejudice and one-sided information today, and indeed, there are many Jews who prefer joining our enemies. Despite everything, we must encourage good relations with other human beings — many of whom also fight against prejudice and discrimination. Little things can have a huge impact, both ways.
The author is a writer and rabbi based in New York.
