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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.”


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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Apartheid Week Exposed: Combating a Vicious Anti-Israel Lie on Campus

An “Apartheid Wall” erected by Harvard University’s Palestine Solidarity Committee. Photo: X/Twitter

On a sundrenched corner of coastline, a light breeze dances across the blue waves. But what seems pleasant at the surface, ideal even, is hardly the full story. To the side, a metal sign reads: “Under Section 37 of the Durban Beach by-laws, this bathing area is reserved for the sole use of members of the white race group.” The city is Durban, the third-most populous city in South Africa, and this scene was commonplace under its erstwhile apartheid regime. “Apartheid,” Afrikaans for “separateness,” was a brutal system of legally enforced racial segregation that dominated Africa’s southernmost nation until being finally abolished in 1994.​

But what does this faraway land have in common with Israel? According to the anti-Zionist movement, a heck of a lot. To compare this former regime to the anti-Zionists’ warped version of the Jewish State, they even hold an annual ritual of “Israel Apartheid Week” (IAW) in protest of the latter’s continued existence. This canard is being legitimized at the very top, with California Governor and presidential hopeful Gavin Newsom recently going so far as to assert that many observers are “appropriately” describing Israel as an “apartheid state.” What was once a fringe preserve of college radicals is now being increasingly indulged by the mainstream.

In reality, aside from those sunny beach fronts, Israel has precisely nothing in common with the racist regime that stained South African society for far too long. Under Israeli law, racial discrimination is illegal, and previous surveys suggest that 80 percent of Arab citizens prefer living there than anywhere else. Arab-focused political parties are elected to Israel’s parliament, the Knesset, and people of all backgrounds hold prominent roles across all sectors. Israeli Christians, the majority of whom are Arab, are an upwardly mobile minority over-represented across law and computer science subjects.

Such facts would not have been simply unlikely in apartheid South Africa, but completely out of the question. Non-white South Africans could not even legally sip coffee in the same cafe as their Caucasian compatriots, never mind hope to seek employment or excellence in the same fields or pursue friendship or relationships.

When confronted, Israel’s detractors dismiss these facts, which disprove their apartheid slur, as “strawman” arguments, and move to claim instead that military courts, checkpoints, building restrictions, administrative detention, or alleged “Jewish-only roads” are evidence of “apartheid.”

The allegations are false — Israelis of all religions share the same roads — or at best specious. Where residents under the Palestinian Authority are prevented from roads used by Israeli Jews and Arabs, it relates to jurisdiction and security responsibility, not race or religion. During the Second Intifada, roads were repeatedly used for ambushes, drive-by shootings, and roadside bomb attacks targeting Israeli civilians: Jewish, Arab, Muslim, Christian, Druze, or otherwise. Security restrictions were introduced to separate civilian traffic from known attack corridors, which significantly reduced the frequency of attacks. Checkpoints and military courts, too, arise from an unresolved territorial conflict and ongoing security concerns, not a policy of racialized segregation.

This organized intellectual assault on Israel’s existence is nothing new. “Apartheid Week” was launched in 2005 and has been an outlet for misinformation and lies ever since. While the Boycott, Divestment, and Sanctions (BDS) movement that aids it brands itself as “grassroots,” it enjoys swathes of establishment backing. NGO Monitor has exposed how various governments, the European Union, and anti-Zionist groups like the New Israel Fund routinely help pay for and publicize groups responsible for such campaigns on campus and beyond. It is therefore up to the rest of us to put up a veritable opposition to their tempting babble.

Naturally, there will always be a core of hardline activists unwilling to interrogate their own prejudices, but plenty of ordinary students have simply never heard another side to the story. Many young people also feel intense social pressure to accept flawed anti-Zionist talking points. Giving such students the space to hear a new perspective can help them interrogate and form their views in a more constructive environment. This is what the Committee for Accuracy in Middle East Reporting and Analysis (CAMERA)’s sixth annual “Apartheid Week Exposed” campaign, and our work all year-round, seeks to encourage at this critical juncture.

This week, our campus program will partner with “Israel-is” to host a campus speaking and tabling tour across Florida and California. The program will feature two speakers with firsthand perspectives on the Middle East. In Florida we will host Neriya Kfir, an Israeli Oct. 7 survivor and former IDF soldier, and Padideh Daneshzad-Moghaddam, an Iranian speaker who grew up under the Islamic Republic and will share insights into her life in her home country and the aspirations many Iranians have for freedom. Then in the Golden State, Staff Sergeant Dean Cohen and Farriba, an activist born in Mashhad, northeast Iran, will take the reins.

We have already, and will continue, to hold similar educational events with students across the US and around the world. We are also providing students with helpful myth-busters on Israel and the Middle East, offering them the factual grounding to help them navigate what may feel like a lonely university experience.

We seek to elevate voices that you are not likely to hear on campus. IAW and its allies routinely celebrate the tyrannical theocrats responsible for massacring peaceful protestors, abusing women, and organizing terror around the world, atrocities they both bizarrely celebrate and continue to deny. IAW activists seemingly place little value on any human life deemed to get in the way of their anti-Israel aims. This year, and in previous ones, various campus groups are using IAW to rally for the release of Marwan Barghouti from Israeli prison. In 2004, he was convicted on five counts of murder for the deaths of four Israelis and a Greek Orthodox monk.​​

Students in America and beyond — Jewish, Muslim, Christian, or otherwise — deserve a better future. One in which constructive dialogue replaces name-calling and intimidation. Administrators, for their part, should also make clear that the university does not endorse the claims made during these partisan campaigns and should enforce standards of conduct when activism crosses into harassment or violence. It is certainly a big ask, but we can only hope for such a change if we help to build it.

Georgia L. Gilholy is a member of the Communications Team at the Committee for Accuracy in Middle East Reporting and Analysis (CAMERA).
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Suspect in Michigan synagogue attack identified as Ayman Ghazali, an immigrant from Lebanon

(JTA) — The Department of Homeland Security has identified the man killed while attacking a suburban Detroit synagogue as Ayman Mohamad Ghazali, a U.S. citizen who immigrated from Lebanon 15 years ago.

Ghazali, 41, was a resident of Dearborn Heights, Michigan, according to its mayor, Mo Baydoun. Baydoun said in a statement that members of Ghazali’s family, including his niece and nephew, had recently been killed “in an Israeli attack on their home in Lebanon.”

Ghazali was shot by security after driving an explosives-laden truck into Temple Israel in West Bloomfield, a heavily Jewish suburb about 20 miles north of his home.

DHS said Ghazali had entered the United States in 2011 on a visa meant for the foreign-born spouses of American citizens. He became a U.S. citizen in 2016 after applying for naturalization in 2015.

Ghazali worked at a popular restaurant in Dearborn Heights, Hamido, but had been absent in recent weeks, fellow employees told The New York Times. Coworkers and a neighbor praised him to the Detroit Free Press, with the neighbor saying she had planned to bring him flowers because his brother had died.

Law enforcement officials in Michigan said they were still investigating Ghazali’s motive. But reports on social media tied him to four people with the last name Ghazali, including a young boy and girl, who a Lebanese news outlet reported were killed on March 5 in Mashghara, Lebanon. Al Jazeera reported at the time that the family was killed in an “Israeli army raid on a house.” The raid took place three days after the Israeli army urged residents of Mashghara, a Hezbollah stronghold, to evacuate buildings used by Hezbollah.

Israel has long battled Hezbollah, an Iranian proxy in Lebanon, in a conflict that has escalated this month after Hezbollah resumed firing on Israel after Israel and the United States attacked Iran. The Lebanese government said on Thursday that 98 children were among the nearly 700 people killed since March 2. Israel says it is targeting Hezbollah strongholds, including in densely packed Beirut.

A recent poll of “connected” American Jews — those affiliated with synagogues and Jewish organizations — found that while the majority supported the war, most also believed it would increase antisemitism and anti-Israel sentiment in the United States.

Officials identified the perpetrator of a second incident on Thursday, a shooting at Old Dominion University in Virginia that killed a member of the ROTC army corps, as Mohamed Bailor Jalloh, a naturalized citizen who previously spent more than seven years in prison after being convicted of attempting to provide aid to the Islamic State terrorist group.

Authorities in Norway, meanwhile, said they had determined that two men whose behavior had ignited a major police response outside a Trondheim synagogue on Thursday posed no threat.

The post Suspect in Michigan synagogue attack identified as Ayman Ghazali, an immigrant from Lebanon appeared first on The Forward.

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A gunman attacked a Michigan synagogue. Here’s what happens to the community next

On Thursday, a driver rammed his pickup truck into Temple Israel in West Bloomfield Hills, Mich., a large Reform Temple about 25 miles from downtown Detroit. Blessedly, there were no casualties besides the shooter, whom security guards rapidly engaged. One guard was injured. Aside from that, everyone who was inside the synagogue, including 140 children attending school there, was unscathed.

“There’s hopeful news and there’s sad news about the aftermaths of these shootings,” said Mark Oppenheimer, author of Squirrel Hill: The Tree of Life Synagogue Shooting and the Soul of a Neighborhood, a methodical, lyrical look at what happened to the Pittsburgh neighborhood shattered by the Oct. 27, 2018 shooting that left 11 people dead.

The hopeful news is that older, established Jewish communities can rely on close, long-established bonds within and outside the community to get them through.

The sad news is that people unaffected by the shooting tend to move on and forget.

“So whereas this will haunt the Jewish community for years,” Oppenheimer told me in a phone interview, “most people outside the Jewish community will quickly move on to whatever the next horrible incident is.”

What happens next

Authorities have not confirmed the attacker’s motive, although he has been identified as a Michigan man who was born in Lebanon. But among all the unknowns, we do know a few things for certain.

We know that a great tragedy was averted due to the guards’ bravery and expertise, and due to the planning and preparation of synagogue leadership.

We know such attacks have gone from being extremely rare in the United States, to being more frequent.

And we know that what happens now, in the aftermath, matters a great deal.

That’s why, in writing about the worst mass shooting in American Jewish history, Oppenheimer spent most of his time researching what came after the atrocity.

“When the cameras and the police tape were gone, what stayed behind?”Oppenheimer, who teaches at Washington University’s John C. Danforth Center on Religion and Politics, wrote in the book’s introduction.

The power of connection

Both the Tree of Life synagogue and Temple Israel are older, deeply entrenched congregations with close ties to a number of local communities — Jewish and non-Jewish alike.

In one chapter of Squirrel Hill titled, simply, “Gentiles,” Oppenheimer chronicles how non-Jews came to the aid of the stricken congregation, including clergy, politicians and neighbors.

Emblematic of that was the capacity crowd of 2,500 people that came together at Soldiers and Sailors auditorium on the one-year anniversary of the shooting, where law enforcement, politicians and Christian, Muslim and Jewish clergy all spoke.

“There are usually people in government, in community organizations, in neighborhood organizations, who reach out, who want the Jews to know that they’re not alone,” said Oppenheimer.

Evidence of such connection was already on show in Michigan on Thursday. One reporter interviewed a woman praying outside the synagogue, who said, through tears, that the “Holy Spirit” had told her to turn her car around once she saw police cars racing past her to the scene, and go lend support.

In Pittsburgh, the 2018 shooting was also a time for the Jewish community itself to come together.

Squirrel Hill’s close-knit Jewish community crossed denominational divides to show support. An Orthodox rabbi organized a spreadsheet to manage the 24-hour vigils Jewish law prescribes over the bodies of the dead prior to burial.

“In Squirrel Hill, one of the nice things is there is a lot of community and solidarity across denominational lines and levels of observance,” said Oppenheimer, “and that’s pretty rare in American Judaism. It’ll be interesting to see how that plays out in Detroit.”

A new reality

Iin recent years, the need for solidarity and resilience in the face of such attacks has become, unfortunately, more apparent.

When Oppenheimer wrote his book, he was able to state the shooting was “a unique event” in American history. It’s true that until the Tree of Life massacre, antisemitic violence had claimed just 26 lives in U.S. history. The U.S., more than any Western country, and far more than Israel itself, had truly been a safe haven for Jews.

Since Squirrel Hill, six more people have died in four attacks. The previously well-earned sense of safety has been shattered.

“While the odds that any given Jew will be attacked remain quite low, it is obviously pretty terrifying,” said Oppenheimer.

Some critics of the national focus that fell on Squirrel Hill after the Tree of Life shooting argued that the tragedy got far more attention than similar mass shootings that had befallen non-Jewish communities.

But it’s the very rarity of these attacks that makes them so shocking and, at least for American Jews, so memorable.

In this new normal, it’s even more important for Jews to form strong, mutually supportive bonds among themselves, and with others.

And the world moves on

Those bonds are especially crucial because while the victims of violence don’t soon forget and move on, the world does.

“It’s a short burst of solidarity, and then people leave. Understandably so,” Oppenheimer said.

I suspect that even though prayers of gratitude and deliverance will echo through the sanctuaries of Detroit — and in Jewish hearts everywhere — the attack will haunt its intended victims long after the police tape comes down.

What will make the difference in how the community faces those fears and moves forward is the amount of support it receives from those outside it. If the broader Bloomfield and Detroit community refuses to forget this awful incident, it will change the course of healing.

I asked Oppenheimer what lesson he learned from the Tree of Life aftermath could apply to Temple Israel.

“In Pittsburgh, there was a long history of people showing up for each other,” he said Oppenheimer. “The relationships, or lack of relationships, that exist become more noticeable when something goes wrong.”

“Where there are strong ties before a shooting, there are strong ties afterwards.”

The post A gunman attacked a Michigan synagogue. Here’s what happens to the community next appeared first on The Forward.

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