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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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Most Europeans Consider Antisemitism an ‘Important’ Problem, Say Gaza War Influences Views of Jews: EU Survey
Anti-Israel protesters march in Germany, March 26, 2025. Photo: Sebastian Willnow/dpa via Reuters Connect
Over half of Europeans view antisemitism as a serious problem in their countries, with almost seven in ten saying the war in Gaza influences how Jewish people are perceived, according to a new European Union survey published this week as hostility toward Jews and Israelis across the continent shows no sign of easing.
Released on International Holocaust Remembrance Day, the European Commission’s Eurobarometer, which surveyed some 25,000 respondents, found that 69 percent of Europeans now believe that “conflicts in the Middle East” influence how Jewish people are perceived — up from 54 percent in a previous survey before the conflict.
The data also revealed that 55 percent of respondents consider antisemitism an “important” problem in their home country, with nearly half saying it has grown over the past five years and a large majority warning that hostility toward Jews in public places remains a serious concern.
Western countries, especially those with large Muslim-majority immigrant populations, expressed the greatest concern about rising antisemitism and were most likely to link it to Israel, revealing sharp differences across European Union member states.
For example, only 9 percent of respondents in Estonia said antisemitism was a problem, followed by Finland, Latvia, Malta, and Slovakia ranging from 16 to 21 percent.
However, 70 to 74 percent of respondents in countries such as France, Italy, Sweden, Germany, and the Netherlands saw antisemitism as a serious threat.
“Jewish culture is woven into the fabric of European history. We must protect and nurture this today and well into the future,” EU Commissioner for Internal Affairs and Migration Magnus Brunner said in a statement.
Today, Europe is home to nearly 30 percent of all Israelis living outside the country — roughly 190,000 to 200,000 people — with their population steadily increasing across the continent, according to a report from the Institute for Jewish Policy Research (JPR).
Yet governments and Jewish security organizations across the continent have documented a dramatic rise in anti-Jewish hate crimes since the Hamas-led invasion of and massacre across southern Israel on Oct. 7, 2023.
Germany recorded more than 2,000 antisemitic incidents in 2024 — nearly double pre-Oct. 7, 2023, levels.
In the UK, the Community Security Trust (CST) — a nonprofit charity that advises Britain’s Jewish community on security matters — recorded 1,521 antisemitic incidents from January to June last year. This was the second-highest number of antisemitic crimes ever recorded by CST in the first six months of any year, following 2,019 incidents in the first half of 2024.
France presents a similar pattern. According to the French Interior Ministry, the first six months of 2025 saw more than 640 antisemitic incidents, a 27.5 percent decline from the same period in 2024, but a 112.5 percent increase compared to the first half of 2023, before the Oct.7 atrocities.
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‘You’re Disgusting’: University of Miami Sophomore Harasses ‘Students Supporting Israel’ Campus Group
Kaylee Mahoney, a University of Miami student and conservative influencer who verbally attacked Jewish students on campus on Jan. 27, 2026. Photo: Screenshot.
A sophomore and right-wing social media influencer at the University of Miami on Tuesday verbally attacked a Jewish student group, leading the school to defend free speech while saying that “lines can be crossed” in response.
“Christianity, which says love everyone, meanwhile your Bible says eating someone who is a non-Jew is like eating with an animal. That’s what the Talmud says,” Kaylee Mahony yelled at members of Students Supporting Israel (SSI) who had a table at a campus fair. “That’s what these people follow.”
She continued, “They think that if you are not a Jew you are an animal. That’s the Talmud. That’s the Talmud.”
Mahony can also be heard in video of the incident responding to one of the SSI members, saying, “Because you’re disgusting. It’s disgusting.”
Later, Mahony, whose statements were first reported by The Miami Hurricane student newspaper, took to social media, where she has more than 125,000 followers on TikTok, and posted, “Of course the most evil (((country))) in the world is filled with (((people))) who hate Jesus [sic].”
The “((()))” is used by neo-Nazis as a substitute for calling out Jews by name, which, given the context in which they discuss the Jewish people, could draw the intervention of a content moderator.
Mahony is the head of public relations for the university’s College Republicans and the head of social media for Turning Point Miami, according to her LinkedIn.
The Miami Hurricane reported that, until Tuesday evening, Mahony’s Instagram and Tiktok bios included “Proud Goy” — a term referring to non-Jews.
Students told The Miami Hurricane that Mahony also charged that “rabbis eat babies” while harassing SSI. Nonetheless, Mahony reportedly defended her conduct, saying, “Referencing the disgusting verses of the Talmud is not being antisemitic. Asking someone about the book that they use as their moral compass isn’t antisemitic.”
The Talmud, a key source of Jewish law, tradition, and theology, is often misrepresented by antisemitic agitators in an effort to malign the Jewish people and their religion.
However, the University of Miami did not mention antisemitism in its statement on the incident.
“The University of Miami is aware of the exchange that occurred between students Tuesday afternoon,” the school said in a statement. “We strongly support our students’ rights to freedom of expression. However, we understand lines can be crossed. As such, the university has proactive policies in place to ensure the safety and wellbeing of all students.”
The statement went on to say that the university “remains committed to maintaining a campus environment where every student feels safe, welcome, and supported.”
According to The Miami Hurricane, the College Republicans terminated Mahony’s membership in the club.
Tuesday’s incident comes as right-wing antisemitism is surging in popularity among conservative youth, seemingly in part due to the influence of online influencers such as Nick Fuentes, Candace Owens, and Tucker Carlson.
In September, a conservative magazine at Harvard University published an opinion piece which bore likeness to key tenets of Nazi doctrine, as first articulated in 1925 in Hitler’s autobiographical manifesto Mein Kampf, or My Struggle, and later in a blitzkrieg of speeches he delivered throughout the Nazi era to justify his genocide of European Jews.
Written by David F.X. Army, the article chillingly echoed a January 1939 Reichstag speech in which Hitler portended mass killings of Jews as the outcome of Germany’s inexorable march toward war with France and Great Britain. Whereas Hitler said, “France to the French, England to the English, America to the Americans, and Germany to the Germans,” Army wrote, “Germany belongs to the Germans, France to the French, Britain to the British, America to the Americans.”
Army also called for the adoption of notions of “blood, soil, language, and love of one’s own” in response to concerns over large-scale migration of Muslims into Europe.
In Nazi ideology, “blood and soil,” or Blut und Boden, encapsulated the party’s belief in eugenics and racial purity; the German “Aryans’” right to expand into Eastern Europe to amass new Lebensraum, or “living space”; and the transformation of the German peasantry into an agricultural class which stood in contrasts to Jews, many of whom lived in cities.
Meanwhile, antisemitic hate crimes have spiked to record levels across the US.
Earlier this month, Stephen Pittman, 19, allegedly ignited a catastrophic fire which decimated the Beth Israel Congregation synagogue in Jackson, Mississippi. After being arrested, Pittman confessed and told US federal investigators that he targeted the institution over its “Jewish ties,” according to court filings.
As he allegedly carried out the act, Pittman notified his father of it via text message, saying “I did my research.”
Follow Dion J. Pierre @DionJPierre.
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Anti-Israel Candidates for US Senate Boast Strong Polling Numbers in Michigan Democratic Primary
Mallory McMorrow, a Democrat running for US Senate in Michigan. Photo: Screenshot
Mallory McMorrow, a vocal critic of Israel’s war in Gaza and a candidate for the US Senate in Michigan, holds a narrow lead over the rest of the Democratic primary field, according to a new poll.
The Emerson College Polling/Nexstar Media survey shows McMorrow, a member of the Michigan state Senate, ahead of the pack with 22 percent of the vote. US Rep. Haley Stevens (D-MI) sits in second place with 17 percent of the vote. Abdul El-Sayed, a physician with an anti-Israel policy platform, holds a respectable 16 percent of the primary vote.
McMorrow’s lead over the field may spark consternation among supporters of Israel, whose defensive military campaign in Gaza has been characterized by McMorrow as tantamount to “genocide.”
Just days before the anniversary of Hamas’s Oct. 7, 2023, massacre across southern Israel, McMorrow called Israel’s response in Gaza a “moral abomination,” saying it was “just as horrendous” as the attack carried out by Hamas-led Palestinian terrorists, who perpetrated the deadliest massacre of Jews since the Holocaust.
However, in a recent interview, McMorrow indicated tentativeness over her previous condemnation of Israel, admitting that the word “genocide” has become a “purity test” among progressive activists in Democratic primaries.
“I am somebody who looks at the videos, the photos, the amount of pain that has been caused in the Middle East, and you can’t not be heartbroken,” McMorrow said during an interview earlier this month. “But I also feel like we are getting lost in this conversation, and it feels like a political purity test on a word — a word that, by the way, to people who lost family members in the Holocaust, does mean something very different and very visceral — and we’re losing sight of what I believe is a broadly shared goal among most Michiganders, that this violence needs to stop, that a temporary ceasefire needs to become a permanent ceasefire, that Palestinians deserve long term peace and security, that Israelis deserve long term peace and security, and that should be the role of the next US senator.”
Conversely, Stevens has established herself as the favorite among pro-Israel Michiganders. Stevens scored an endorsement from the Democratic Majority for Israel in November 2025. In a statement, DMFI praised Stevens as someone who has “stood firm against extremism, antisemitism, and efforts to undermine America’s alliances.”
Stevens has routinely touted her pro-Israel bona fides, vowing to stand beside the closest US ally in the Middle East despite mounting pressure by party activists to cut ties with the Jewish state. The lawmaker promised that if elected she would continue to support legislation which bolsters Israel’s security.
“As a proud pro-Israel Democrat, I believe America is stronger when we stand with our democratic allies, confront antisemitism and extremism, and keep our promises to our friends abroad and our working families here at home,” Stevens said in a statement. “In the Senate, I’ll keep fighting to protect our democracy, support Israel’s security, ensure the ceasefire holds in Gaza, and deliver for Michiganders in every corner of our state.”
El-Sayed, the most far-left candidate in the race, has been especially critical of Israel’s war in Gaza. On Oct. 21, 2023, two weeks after the Hamas-led slaughter of 1,200 people and kidnapping of 251 hostages in southern Israel, the progressive politician accused Israel of “genocide.” The comment came before the Israeli military launched its ground campaign in Gaza.
He also compared Israel’s defensive military operations to the Hamas terrorist group’s conduct on Oct. 7, writing, “You can both condemn Hamas terrorism AND Israel’s murder since.”
In comments to Politico, El-Sayed criticized Democrats’ handling of the Israeli-Palestinian conflict, arguing that they should become the “party of peace and justice” and said that they “ought not to be the party sending bombs and money to foreign militaries to drop bombs on other people’s kids in their schools and their hospitals.” He called on Democrats to stop supporting military aid for Israel, saying, “We should be spending that money here at home.”
Earlier this month, The Algemeiner reported that El-Sayed is facing scrutiny over his past fundraising and public support for a political advocacy group whose affiliates organized anti-Israel protests at Holocaust memorial sites in Washington, DC, and the Detroit metro area.