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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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Holocaust survivor event features a Rob Reiner video address — recorded just weeks before his death

(JTA) — At a virtual Holocaust survivor event on Thursday, beloved Jewish film director Rob Reiner gave a pre-recorded address where he urged those watching to be “resilient.”

For the survivors, families and advocates who tuned into the virtual event hosted by the Conference on Jewish Material Claims Against Germany, or Claims Conference, Reiner’s words carried added weight, having been recorded just weeks before he and his wife, Michele Singer Reiner, were killed in their home on Sunday.

Ahead of Reiner’s pre-recorded remarks, Greg Schneider, the executive vice president of the Claims Conference, said that Reiner had begun working on the organization’s annual International Holocaust Survivors Night a few years ago, including appearances in the virtual screening in 2023 and 2024. The organization has disbursed restitution money to survivors since 1951.

Schneider then read a quote from a 2017 Jewish Telegraphic Agency interview with Reiner.

“Yes, all this is reflected in my work. It’s my sensibility. I’m a Jew. I was raised a Jew. I value honesty and integrity and knowledge and education and all those values I was raised with,” said Schneider, quoting Reiner.

Concluding his introduction to Reiner’s address, Schneider said, “Rob and Michelle, we will carry on your values of acting with honesty, integrity, knowledge and education.”

As Reiner came on the screen, surrounded by posters from some of his most acclaimed films, including “The Princess Bride” and “A Few Good Men,” he began by describing his family’s “personal connection” to the Holocaust.

“Thank you again for asking me to join your evening, I can tell you that what you’re all about means a lot to me,” Reiner said in the video. “Personally, my wife, her mother, was in Auschwitz, and her whole family died there. Her mother was the only survivor, and my aunt was also in Auschwitz.”

On Wednesday, the USC Shoah Foundation shared a 1994 video of Singer Reiner embracing her mother, Holocaust survivor Nicole Silberkleit, who described her children as “very understanding, loving, and affectionate.”

https://www.instagram.com/p/DSYmPLmEshI/

In his address, Reiner then shifted his focus to urging “resilience,” which was the theme of the virtual event to honor Holocaust survivors.

“I know the theme of the evening is resilience, and if ever we needed to be resilient, it’s now,” he said. “We’re living in a time where what’s happening in our country is scary and reminiscent of what we’ve seen happen in the past, and we just hope that we can all survive this and that we can hold on to our democracy, but I want to just thank everybody for being there, and let’s be resilient.”

The Claims Conference’s event was part of an annual menorah lighting ceremony on the fifth night of Hanukkah to honor survivors. It concluded with around 100 survivors lighting candles at the Western Wall in Jerusalem.

This year, Claims Conference officials also used the event to draw attention to antisemitism, with the survivor event taking place just days after 15 were killed during an antisemitic attack on a Hanukkah event in Sydney, Australia.

“Even in these difficult days, when antisemitism is rising and Jewish communities around the world are under attack — this very week on the first night of Hanukkah in Sydney, Australia — we draw strength and inspiration from you, the survivors, from your personal and collective resilience,” Schneider told the group of survivors in Jerusalem.

One of the victims of the attack, Alex Kleytman, was a Holocaust survivor who had passed World War II living with his family in Siberia.

“Lessons from the past should have protected Holocaust survivor Alex Kleytman – a husband, a father and a grandfather,” the Claims Conference wrote in a post on Facebook Sunday. “Educating about how words of hate can turn into violence must not be a hollow promise.”

The couple’s 32-year-old son, Nick, briefly appeared in a Los Angeles court Wednesday after he was charged in connection to his parents’ killing. He has been charged with two counts of first-degree murder with a special circumstance of multiple murders.

The other Reiner children, Jake and Romy, shared a statement with People on Wednesday expressing their grief over the loss of their parents.

“Words cannot even begin to describe the unimaginable pain we are experiencing every moment of the day,” the statement said. “The horrific and devastating loss of our parents, Rob and Michele Reiner, is something that no one should ever experience. They weren’t just our parents; they were our best friends.”

The post Holocaust survivor event features a Rob Reiner video address — recorded just weeks before his death appeared first on The Forward.

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In Reykjavik, Hanukkah offers a chance for Iceland’s tiny, isolated Jewish community to come together

(JTA) — REYKJAVIK — December light is brief in Iceland. It was not yet 4 p.m., and by the time the giant menorah was lit in downtown Reykjavík, the day had already slipped into darkness. A steady drizzling rain blurred the streetlights and soaked the pavement where fewer than 100 people gathered, roughly half of the country’s Jewish population, which has always been small and largely unseen.

The celebrants were calm, almost subdued; security was not. Armed plainclothes police ringed the area. They moved through the crowd while surveillance drones hovered overhead. Air support was on standby, measures almost unheard of in a country that tops the world’s most peaceful list.

The gathering took place just hours after news broke of the most recent terrorist attack on Jews, this one a celebration of Hanukkah at Bondi Beach in Sydney, Australia.

Rabbi Avraham Feldman and his wife, Mushky, welcomed the crowd, their voices steady but restrained. Iceland’s minister of foreign affairs, Þorgerður Katrín Gunnarsdóttir, followed, and she lit the menorah herself. Curious passersby slowed, some watching silently before moving on. The event passed without incident.

“The attack in Sydney reminds us that darkness is not only something we read about in history books. It still exists in the world and appears suddenly and violently,” said Avraham Feldman, who is associated with the Chabad movement, which makes public menorah-lightings a centerpiece of its outreach around the world.

“Hanukkah does not ask us to deny this darkness,” he added. “Instead, Hanukkah teaches us that each and every one of us can create light and positivity. Even a small light pushes away great darkness. And when many lights stand together, we overpower the darkness.”

In a statement issued the same day, Gunnarsdóttir condemned the attack in Sydney, which took place at a Chabad event. “I strongly condemn the horrific attack on those celebrating Chanukah at Bondi Beach in Australia,” she said. “There is no place, anywhere, for antisemitism or terror. I extend my heartfelt condolences to the victims, their loved ones, and others affected.”

Her presence at the Hanukkah event carried significance well beyond the ceremony itself. Iceland’s government has been among Europe’s most vocal critics of Israel, and public discourse around the war in Gaza has been intense. Jewish teens have reported increasingly tense relationships with their peers, and the national broadcaster recently announced that it would boycott the Eurovision song contest over Israel’s participation.

For some Jews in Iceland, the political situation has shaken their sense of acceptance.

“It has become very different for me since Oct. 7,” said an American Jew living in Iceland who asked to remain anonymous. “Before, I was fairly widely open about being Jewish, but the landscape has changed.”

When he and his spouse moved into a new home last year, he ordered a mezuzah for the front door, but he hesitated to put it up. “For the first time, I found myself concerned about placing my Hanukkah menorah in the window,” he said, even as he added that most Icelanders would likely not recognize the symbol anyway, given the prevalence of seven-armed electric advent lights in windows each December.

For some present, having Gunnarsdóttir at the Hanukkah event offered a rare and meaningful signal that support for a vulnerable minority need not be conflated with geopolitics.

“It’s so special to have the foreign minister join us today, to stand with us, support the community, and offer her continued friendship,” said Mushky Feldman said. “We’re honored to have her speak tonight and light the first candle.”

Jewish life in Iceland has no long historical footprint. There are no historic synagogues, no Jewish neighborhoods, and no centuries-old institutions. Holidays are celebrated in rented spaces or private homes. Until 2018, there was not even a resident rabbi. The community is made up largely of immigrants — including an Israeli jewelry designer who was the country’s first lady for 13 years until 2016 — their children, and Icelanders who have claimed a Jewish identity later in life.

“How do you teach your children what it means to be Jewish without a ready-made community?” asked Reykjavík resident Adam Gordon, an American Jew. “The answer is that we must create that community ourselves.”

Practical challenges abound. “Supplies can be difficult to come by,” said the American Jew, who decided that he would light a menorah. “I finally placed a bulk order from abroad with enough Hanukkah candles to get me through the end of this decade.”

An obstacle is the traditional Icelandic approach to religion. Most Icelanders are nominally Christian but the country is known as one of the most secular in Europe. (Judaism became an official state religion in 2021, following Avraham Feldman’s advocacy.)

“Icelanders see Jewishness as a function of religion, which they largely see as a quaint if outdated view of the world incompatible with their collective level of political and moral evolution,” said Mike Klein, an American Jew living in Iceland.

“Discussions about my being Jewish often become uncomfortable, partly because of the current political predicament, but also because Icelanders find it strange that I would choose to make my life difficult by maintaining my Jewish identity when I’m otherwise relatively well accepted,” Klein added.

Others echo the same tension. A Jewish American living in Iceland, who declined to be named out of concerns about identifying publicly as Jewish, said antisemitism in Iceland is often rooted in misunderstanding rather than explicit hatred. “There is a lot of ignorance,” she said.

“Many Icelanders have no idea that there are only about 15 million Jews in the world, and that while we are few, we are not a monolith. We have different ways of connecting to our Jewish identity, that it is not only rooted in religion, but culture, a shared heritage.”

At the same time, some Icelanders have embraced the community in meaningful ways. Finnur Thorlacius Eiríksson first encountered Jewish life in 2017, when he met an Israeli couple visiting Iceland. When they later moved to the country and invited him to a Passover seder in 2018, he joined.

“The experience was a positive one, which prompted me to attend more events where I got to know the Jewish community in Iceland quite well,” he said.

Eiríksson now holds the distinction of the only non-Jew known to be registered as a member of the official Jewish community. He attends major holidays and events and is even considering converting to Judaism.

“Thankfully, nearly all my Jewish friends are open about being Jewish,” he said. “They know it never helped the Jewish people to hide their identity, so they wear their Jewish identity with pride.”

Andrea Cheatham Kasper, who is Jewish and lives in Iceland with her family, said her Shabbat table has become a cornerstone of connection.

“Our Shabbat table has been central in our home and also as our way to make friends and build community,” she said. “Relationships have grown there, some immediately and some after many meals together.”

Kasper said she does not hide being Jewish or Israeli but avoids online political battles. “My goal is to focus on face-to-face relationships and interactions that are human, not political,” she said. “What I have found is that the noise comes from the loud voices, and they aren’t always representative.”

At the lighting, the menorah flickered against the rain and the early darkness. Children stood close to their parents. Photos were taken to share with family far away, and fresh-baked sufganiyot (jelly-filled donuts) were passed out to the crowd.

“Events like the menorah lighting become these precious moments when we can gather and celebrate together,” said Gordon. “None of us came to Iceland to deepen our Jewish practice, but we don’t want to abandon it. Instead, we want to weave it together with our Icelandic identities.”

The post In Reykjavik, Hanukkah offers a chance for Iceland’s tiny, isolated Jewish community to come together appeared first on The Forward.

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Mamdani Transition Team Appointee Resigns After ‘Money Hungry Jews’ Social Media Posts Resurface

Candidate Zohran Mamdani speaks during a Democratic New York City mayoral primary debate, June 4, 2025, in New York, US. Photo: Yuki Iwamura/Pool via REUTERS

An appointee of New York City Mayor-elect Zohran Mamdani resigned just one day after her selection this week, following the exposure of decade-old social media posts that contained antisemitic language and stereotypes.

Catherine Almonte Da Costa, who had been named Mamdani’s director of appointments, stepped down Thursday after social media posts from around 2011–2012 resurfaced in which she used phrases echoing classic antisemitic tropes, including references to “money hungry Jews.”

The Anti-Defamation League condemned the comments, saying they “echo classic antisemitic tropes and otherwise demean Jewish people,” and questioned how such remarks were not uncovered during the vetting process for a senior role in the incoming administration. Shortly after the controversy broke, Da Costa’s X account was taken offline.

In a statement announcing her resignation, Da Costa expressed remorse for the posts, calling them  and inconsistent with who she is today. In a statement, Da Costa said  she “spoke with the Mayor-elect this afternoon, apologized, and expressed my deep regret for my past statements. These statements are not indicative of who I am.” Mamdani accepted her resignation, stating that he believed her apology to be sincere.

The episode has intensified scrutiny of Mamdani’s transition team and personnel choices as he prepares to take office. Mamdani, a progressive lawmaker, has previously faced criticism from Jewish and pro-Israel groups over his rhetoric and positions related to Israel, prompting heightened sensitivity to issues of antisemitism surrounding his administration.

Jewish communal leaders said the incident underscores broader concerns about tolerance for antisemitic language within progressive political circles and the need for more rigorous screening of public officials and senior staff. Several noted that public servants must be held to a high standard, particularly at a time of rising antisemitism in the United States.

Halle Soifer, the CEO of the Jewish Democratic Council of America, expressed approval of Da Costa’s resignation.

Glad to see that Catherine Almonte Da Costa has resigned. The views she expressed are unacceptable and intolerable,” she said. 

Sara Forman, executive director of the New York Solidarity Network, also praised Mamdani’s “cutting ties” with Da Costa, but cautioned that ““had she said ‘Zionist’ instead of ‘Jew’ the response from the incoming Mamdani administration and the outcome we just witnessed would likely have been quite different.”

David Friedman, the former US Ambassador to Israel, expressed a more skeptical view of Da Costa’s decision to step down.

“Seems like every Mamdani appointee has something in common — an intense dislike for Jews,” he said.

The resignation marks an early setback for Mamdani’s mayoral transition and is likely to keep questions about antisemitism and accountability at the forefront as his administration begins to take shape. Mamdani has repeatedly stressed his commitment to protecting New York City’s Jewish community amid ongoing concern over rising antisemitism in the city and his own anti-Israel viewpoints.

Mamdani, a far-left democratic socialist and anti-Zionist, is an avid supporter of boycotting all Israeli-tied entities who has been widely accused of promoting antisemitic rhetoric. He has repeatedly accused Israel of “apartheid” and “genocide”; refused to recognize the country’s right to exist as a Jewish state; and refused to explicitly condemn the phrase “globalize the intifada,” which has been associated with calls for violence against Jews and Israelis worldwide. During his tenure in the NYC City Council, Mamdani spearheaded the “Not on our dime!: Ending New York Funding of Israeli Settler Violence Act,” legislation which would ban charities from using tax-deductible donations to aid organizations that work in the West Bank. In 2021, Mamdani issued public support for the Boycott, Divestment, Sanctions (BDS) movement—an initiative which seeks to economically and diplomatically isolate Israel in the first step to its eventual destruction.

Notably, on Oct. 8, 2023, 24 hours following the deadliest day for Jews since the Holocaust, Mamdani published a statement condemning “Netanyahu’s declaration of war” and suggesting that Israel would use the terror attacks to justify committing a second “Nakba.” Mamdani then said that Israel can only secure its long term safety by “ending the occupation and dismantling apartheid.”

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