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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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Anti-Israel, Antisemitic Views of US Republicans Concentrated Among ‘New Entrants’ to Party, New Poll Finds
People gather for the UTEP chapter of Turning Point USA’s event featuring Border Czar Tom Homan on Dec. 4, 2025, at the UGLC on the UTEP campus in El Paso, Texas. Photo: USA TODAY Network via Reuters Connect
A strong majority of Republicans in the US support Israel and reject antisemitism, but “new,” more liberal entrants to the party are more likely to hold an animus toward the Jewish state and tolerate antisemitic hatred, according to a major new survey.
The Manhattan Institute, a prominent US-based think tank, has released a new poll examining the evolving makeup of the Republican Party (GOP) and its current attitudes toward Israel and Jewish Americans.
The results show a GOP that still contains a strong, reliable core of pro-Israel voters, yet one that is increasingly fractured, with a growing minority expressing skepticism toward Israel or even openly hostile antisemitic views.
According to the poll, the majority of Republicans, defined as registered GOP voters or those who, regardless of party affiliation, voted for Donald Trump in 2024, remain consistently conservative on foreign policy and firmly supportive of Israel. The Manhattan Institute divided this group into two groups: “Core Republicans,” defined as “longstanding GOP voters who have consistently backed Republican presidential nominees since 2016 or earlier,” and “New Entrant Republicans,” defined as “recent first-time GOP presidential voters, including those who supported Democrats in 2016 or 2020 or were too young to vote in cycles before 2020.” The two blocs comprise about two-thirds and one-third of the GOP coalition, respectively.
Among the nearly 3,000 total respondents, 55 percent said that Israel is an “important and effective” US ally, while 23 percent said that Israel is “a country like any other” whose interests sometimes align with the US. An additional 12 percent agreed with a description of Israel as a “settler-colonial state” and a liability, indicating a heavy disdain for the Jewish state.
“New Entrant Republicans” perceive Israel in a far harsher light than the general GOP base, according to the data. Among this cohort, 24 percent see Israel as a “liability” while just 39 percent still consider Israel an important ally of the US.
Notably, old guard and newer members of the Republican Party have split perspectives on Qatar, with 41 percent of new entrants viewing the Middle Eastern country favorably compared to 23 percent of “core” Republicans.
The survey also delivers a stark warning about a troubling minority within the GOP and across the broader electorate that holds openly antisemitic views. According to the results, 17 percent of current Republicans can be categorized as “anti-Jewish,” defined as those who “self-identify as both racist and antisemitic and express Holocaust denial or describe Israel as a colonial state” or “do not self-identify that way but nevertheless hold both of those extreme positions.”
The Manhattan Institute found that newer entrants are more likely to be anti-Jewish.
“Anti-Jewish Republicans are typically younger, disproportionately male, more likely to be college-educated, and significantly more likely to be New Entrant Republicans,” the survey states. “They are also more racially diverse. Consistent church attendance is one of the strongest predictors of rejecting these attitudes; infrequent church attendance is, all else equal, one of the strongest predictors of falling into this segment.”
This group is also in general more politically liberal, according to the survey: “Given that many of these voters are younger and former Democrats, more progressive policy tendencies are unsurprising.”
Notably, the Manhattan Institute found slightly higher levels of anti-Jewish sentiment (20 percent) among Democrats.
Among newer Republicans, 38 percent believe that Jews are more loyal to a foreign country than the US, compared to 24 percent of more traditional Republicans.
The “new entrant bloc is more likely to express tolerance for racist or antisemitic speech, more likely to support political violence, more conspiratorial, and — on core policy questions — considerably more liberal than the party’s traditional base,” the Manhattan Institute writes. “These voters are drawn to Trump but are not reliably attached to the Republican Party.”
A key factor in the data is age, with the survey showing a major generational divide in which older GOP voters are much more supportive of Israel and less likely to express antisemitic views than their younger cohorts.
According to the data, 25 percent of GOP voters under 50 openly express antisemitic views as opposed to just 4 percent over the age of 50.
Startlingly, a substantial amount, 37 percent, of GOP voters indicate belief in Holocaust denialism. These figures are more pronounced among young men under 50, with a majority, 54 percent, agreeing that the Holocaust “was greatly exaggerated or did not happen as historians describe.” Among men over 50, 41 percent agree with the sentiment. There are also substantial divisions among racial lines. Whopping amounts of black and Latino GOP voters, 66 percent and 77 percent, respectively, believe in Holocaust denialism. Thirty percent of white GOP voters deny or minimize the Holocaust, according to the Manhattan Institute.
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Neo-Nazis Deploy AI Apps as New Creative Weapons Against Jews, Watchdog Groups Reveal
Screenshots taken on Oct. 23, 2025, of three Sora videos created by user “Pablo Deskobar.”
Large language model (LLM) programs marketed as “artificial intelligence” have become common tools in the kits of online extremists advocating a genocide of the Jewish people, according to new research from longtime watchdogs of antisemitic hate groups and terrorist movements.
On Tuesday, the Anti-Defamation League (ADL) released its report, “The Safety Divide: Open-Source AI Models Fall Short on Guardrails for Antisemitic, Dangerous Content,” which presented the results of testing 17 LLM models — including Google’s Gemma-3, Microsoft’s Phi-4, and Meta’s Llama 3 — which are available for anyone to download and customize to their preferences.
“The ability to easily manipulate open-source AI models to generate antisemitic content exposes a critical vulnerability in the AI ecosystem,” said Jonathan Greenblatt, CEO of the ADL. “The lack of robust safety guardrails makes AI models susceptible to exploitation by bad actors, and we need industry leaders and policymakers to work together to ensure these tools cannot be misused to spread antisemitism and hate.”
In addition to the “open source” models, the group’s researchers analyzed OpenAI’s “closed source” GPT-4o and GPT-5 as a comparison and reported a surprising finding.
“As suggested by previous research and data, OpenAI’s closed-source GPT-4o beat every open-source model (save gpt-oss-20b) in nearly every benchmark, compared to the next highest, the open-source Phi-4 with a score of .84,” the ADL researchers wrote. “GPT-5, in contrast, despite being a newer model than GPT-4o, had a lower guardrail score (.75 compared to .94), fewer refusals (69% compared to 82%), more harmful content (26% compared to 0%) and a higher evasion rate (6% compared to 1%).”
The analysts considered varying explanations for their findings including the possibility “that GPT-5 is designed for ‘safe completions’ (partial or high-level answers), leading to significantly fewer refusals than GPT-4o (e.g., 0% vs. 40% in one prompt). This also resulted in a change of tone. In Prompt 3, for example, GPT-4o started with a preamble about the sensitive nature of the topic, while GPT-5 usually omitted the warning, choosing instead to address and illustrate problematic tropes within the answer itself.”
The complexity of analyzing the LLM models and ambiguity of the results led the ADL to adopt a cautious tone and assess that “we cannot claim a strict linear boost in overall capability.”
“The decentralized nature of open-source AI presents both opportunities and risks,” said Daniel Kelley, director of the ADL’s Center for Technology and Society. “While these models increasingly drive innovation and provide cost-effective solutions, we must ensure they cannot be weaponized to spread antisemitism, hate, and misinformation that puts Jewish communities and others at risk.”
In its list of recommendations in response to the research findings, the ADL urged governments to “establish strict controls on open-source deployment in government settings, mandate safety audits and require collaboration with civil society experts, [and] require clear disclaimers for AI-generated content on sensitive topics.”
The ADL report came out a few days after the Middle East Media Research Institute (MEMRI) published a new analysis of how online neo-Nazi advocates have started to use AI models. The group described the discovery of custom AIs with names like “Fuhrer AI” and “Deep AI Adolf Hitler Chat” programmed to speak in the style of the Nazi leader and to promote his genocidal ideology.
“We are also witnessing the rise of a new digital infrastructure for hate. And it’s not just fringe actors,” Steven Stalinsky, executive director of MEMRI, and Simon Purdue, director of MEMRI’s Violent Extremism Threat Monitor project, wrote in their analysis. “State-aligned networks from Russia, China, Iran, and North Korea amplify this content using bots and fake accounts, sewing division, disinformation, and fear — all powered by AI. This is psychological warfare. And we are unprepared.”
Stalinsky and Purdue warned that “the threat isn’t hypothetical. We’ve been studying how extremists began experimenting with generative AI as early as 2022. Since then, the volume, coordination, and sophistication have grown dramatically.”
Analyzing the many dimensions of the threat posed by AI has recently drawn significant research attention from both the ADL and MEMRI, with the two groups findings’ complementing one another.
Last month, The Algemeiner reported on MEMRI’s in-depth analysis, “Artificial Intelligence and the New Era of Terrorism: An Assessment of How Jihadis Are Using AI to Expand Their Propaganda, Recruitment, and Operations and the Implications for National Security.” In October, the ADL released its report, “”Innovative AI Video Generators Produce Antisemitic, Hateful, and Violent Outputs.”
Meanwhile, Israel has begun moving quickly to integrate AI into its war plans.
Last week, the Israel Defense Forces announced its “Bina” initiative, named after the Hebrew word for “intelligence.” This restructuring and consolidating of Israeli military efforts in artificial intelligence-fueled warfare specifically aims to counter aggression from Iran, China, and Russia.
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Can Jewish tradition help you stay sane when all your bosses are ‘idiots’?
Dear Bintel,
My work colleagues and I need your help. Does Jewish tradition have anything to say about how not to lose your mind when all your bosses are idiots?
Signed,
Losing It
Dear Losing It,
Proverbs 29:2 sums up the impact of bad leadership on morale better than I can: “When a wicked man rules, the people groan.” Believe me, I can hear you and your colleagues groaning in response to every ridiculous email and edict from your inept employers.
The Bible is also full of stories about individuals saddled with work they neither want nor enjoy. Jeremiah is a reluctant prophet ordered to deliver messages nobody wants to hear. Jonah also pointed out the futility of his assignment, saying, essentially, “Why should I tell everyone they’re evil when they won’t listen?” Meanwhile, Moses tries to talk God out of giving him the task of leading the Jews out of Egypt.
And what does the Talmud have to say about all this? The sages portray pushback not as insubordination, but as part of the fundamental relationship between Jews and God: We have a responsibility to demand justice and challenge authority.
But how do you do it without getting fired? Speaking truth to power is an art. Nathan the prophet did it with panache: He got King David to see the error of his ways by relating a parable. When David noticed that the man in Nathan’s tale had transgressed, Nathan said to David, “You are the man!”
Now, I’m not saying your work life will improve if you tell your terrible bosses a story in which the villains are thinly veiled versions of themselves. Nor am I suggesting that you must endure 20 years of servitude, like Jacob did, in order to get some sheep and the woman of your dreams, or that you should argue about every single thing you’re asked to do, as did Moses.
But here’s an oft-quoted Talmudic saying that expresses one of Judaism’s guiding principles, and I think it’s relevant to your work-life quandary: “It is not up to you to complete the task, but neither are you free to avoid it.”
In other words, you aren’t responsible for fixing everything that’s wrong with your job. But you are required to make an effort.
What might that look like? How about cheerfully encouraging adherence to best practices by offering evidence-based recommendations? Or matter-of-factly questioning a pointless policy — without pointing fingers — by simply showing that it’s hurting the bottom line or creating delays?
Now I wouldn’t want you to get on the bosses’ bad side or put yourself in the firing line in the course of offering criticism veiled as new ideas. To help your cause, enlist trusted colleagues to backread that email before you send it, or ask others to jointly request a meeting to propose a new approach to something you’re aching to improve.
What if your suggestions and complaints go unheeded? The Talmud tells of a rabbi who predicts that those on the receiving end of his protests “will not accept the rebuke from me.”
Do it anyway, is the response: “Even though they will not accept it, the Master should rebuke them.”
Consider, too, this beautiful precept from the great philosopher Maimonides: “Each of us should see ourselves as if our next act could change the fate of the world.” Meaning that every small choice you make as you carry out your duties — rendering a compliment to an overwhelmed work friend, making a correction without judgment, sharing a shortcut with the team or listening to a colleague’s frustration — matters.
I truly believe that part of how we maintain our sanity in the face of incompetence or evil is by standing up for our own values, even when it seems pointless. If you subscribe to the notion that every righteous act we perform, no matter how small, contributes to repairing our broken world, and if you can truly believe in the power of individual good deeds, it will go a long way toward restoring your peace of mind.
Peace of mind can also come from the time-honored Jewish tradition of kibbitzing. If you don’t already have an online group on WhatsApp or Discord where you and your coworkers can kvetch as well as support each other away from the bosses’ gaze, start one. If your work is in-person, in the office, rather than remote, invite a couple of colleagues out for a beer or coffee or a meetup in the park.
I’d be remiss if I didn’t also serve up this oft-quoted Talmudic nugget: “A person should love work and not hate it.” The ancient rabbis believed work not only supports one’s material needs, but also provides dignity and self-worth — or so it should. If it’s impossible for you to love your work given your current situation; if you can’t bear the thought of sticking it out the way Jacob did; and if you don’t feel motivated enough to push back one small act at a time, as Maimonides advised, well then, you could always go all out and confront those idiotic bosses head on.
Of course, if you do that, they might hand you your walking papers. Then again, maybe being forced to look for a new job isn’t the worst thing that could happen given your disdain for your situation. Maybe you’re thinking of quitting anyway — and maybe that’s not a bad idea. As a more contemporary Jewish sage, Bob Dylan, once said, “All you can do is do what you must.”
Signed,
Bintel
What do you think? Send your comments to bintel@forward.com or send in a question of your own.
This is Beth Harpaz’s final column for Bintel Brief. She managed and wrote for the column from 2022 to 2025.
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