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A Jewish producer of ‘All Quiet On The Western Front’ sees his family history in the Oscar-nominated Netflix film
(JTA) — The film producer Daniel Dreifuss has only one surviving photo of a distant relative: his grandfather’s cousin, who fought for Germany in World War I and died in combat two days before the war’s end.
He has a few more photos of his grandfather, who also wore the German uniform in WWI — only to be rounded up by the Nazis two decades later during Kristallnacht and thrown into a concentration camp, as even the Jews who had fought for their country were not safe from its campaign of race extermination.
Dreifuss, who was raised in Brazil after his surviving ancestors fled the war to Uruguay, held up these weathered black-and-white photos to his Zoom camera as he spoke to the Jewish Telegraphic Agency from his home in Los Angeles. One shows his grandfather’s cousin in his military uniform, the other shows his grandparents posing together, between the wars.
“Twenty years later, your country, that you just gave your health for and your cousin for and your family for, sends you to a camp,” he said. “It’s a lot of trauma to have to go through in one lifetime.”
These family stories echoed through Dreifuss’ mind when he first read the script for a proposed modern take on “All Quiet on the Western Front,” the classic 1928 novel about the German army’s hellish experiences during World War I. Nearly a century later, author Erich Maria Remarque’s descriptions of trench warfare and of the utter lack of heroism, valor or patriotism felt by its soldier protagonists resonated with Dreifuss.
“I said, ‘I know these people,’” he recalled. “Not because they are some distant relatives that I’ve heard of, but because I am the grandson of one of those kids who were in the film.”
Dreifuss’ parents met at a Jewish youth group in Rio de Janeiro in the 1960s. “My father was my mother’s madrich,” he recalled, using the Hebrew word for a youth group counselor. After they were later married, they moved to Israel partially to avoid Brazil’s military dictatorship and became left-wing political activists. They left Israel just before the Yom Kippur War and relocated to Scotland, where Dreifuss was born, before returning to Brazil to raise him.
Dreifuss had his bar mitzvah in the city of Belo Horizonte before later moving to Rio, which has a much larger Jewish community. “My family was never at all religious, but culturally Jewish,” he said, recalling Passover celebrations and gefilte fish recipes. He did not have many Jewish friends growing up, but his Brazilian friends were interested in Judaism and would attend his family’s Jewish events.
Daniel Dreifuss, a producer of Netflix’s “All Quiet on the Western Front,” holds up a photo of his grandfather Max Dreifuss from 1919, recovering from his German military service in WWI. Max was sent to a concentration camp once the Nazis took power. (Courtesy of Daniel Dreifuss)
This global upbringing is reflected in Dreifuss’ interest in international film. It took a decade for him to mount his remake of “All Quiet,” which was eventually set up with a German production company and released by Netflix this past fall amid another endless military conflict in Europe. No one, he said, wanted to fund a resolutely anti-war film that refused to glorify its combatants, a film that was “never a hero’s journey, not the story of someone who came, you know, beat 1,000 people with their bare hands, triumphs and looks down on top of a hill at the end with some sweeping score.”
But that journey has been validated by the film’s impressive Oscar total, which surprised industry observers. At the nomination ceremony last month, “All Quiet” received nine total nods, the second most of any film this year, including for best picture — which the novel’s original 1930 Hollywood adaptation, directed by Jewish filmmaker Lewis Milestone, won. (This year’s Academy Awards will be held March 12.)
Considering the Nazis had once led a campaign of book burning against the source material and terrorized German movie theaters that showed the original movie adaptation, accusing it of being a “Judenfilm,” Dreifuss sees the new film’s success as a historical victory, too. “I love that my name will be associated with a story that was deemed degenerate by that regime,” he said.
When he was first presented with an early draft of the new “All Quiet” script, in 2013, Dreifuss was coming off of the success of another international historical film he had produced. “No,” a 1980s-set Chilean political drama, starred Gael Garcia Bernal as an ad executive tasked with convincing his country to vote the dictator Augusto Pinochet out of office. The film netted Chile’s first-ever Oscar nomination for international feature film, although Dreifuss himself is not Chilean.
In researching “No,” Dreifuss said, the film’s team had trouble finding Chileans who would admit to having cast their real-life vote in Pinochet’s favor — even though 40% of the population did so. “We couldn’t find one single person who supported him,” he recalled. “At some point, years later, no one wanted to say, ‘I supported it, I voted, I was on that side.’” He saw a parallel to the history of geopolitics in the run-up to WWII, when many Western countries — including his family’s adopted homeland of Brazil — were initially sympathetic to the Nazis.
When Hollywood studios turned down the proposed remake of “All Quiet,” forcing Dreifuss to turn to European financing, he saw an opportunity to mount the first-ever German adaptation of the property, which would allow the film to open up a “historical perspective” on how the aftermath of WWI led to the rise of the Nazis and the Holocaust.
German filmmaker Edward Berger, who also helmed several episodes of the espionage miniseries “Deutschland 83,” stepped into the director’s chair, and he also has a co-writing credit. German star Daniel Brühl, who has played many historical villains to the Jewish people in films ranging from “7 Days in Entebbe” to “The Zookeeper’s Wife,” took a key supporting role as the lead negotiator for the armistice agreements — the sole figure in the movie trying to find a peaceful resolution for his country. (The historical figure Brühl portrays, Matthias Erzberger, was vilified as a traitor by the German right and assassinated in 1921 by antisemitic nationalist radicals who were precursors to the Nazis.)
Though there are no explicitly Jewish characters in the film, Dreifuss believes it still speaks to the fate that would soon await Europe’s Jews.
“We know what followed in the decade in Germany,” he said. “So we could bring that to the film in subtle ways.”
He pointed to the armistice plotline that foreshadows how the Treaty of Versailles left Germany in a deeply disadvantaged position, creating an opportunity for Hitler’s brand of national populism. There are also scenes in which thoughtless German generals, driven by nationalistic fervor and wounded pride, send entire squadrons to their deaths mere minutes before the armistice is set to take effect. In one sequence, the film’s lead, the soldier Paul (Felix Kammerer), steals a goose from a French farming family of non-combatants and says: “It’s a hatred of the other, of not understanding, of being raised to have an enemy.”
Dreifuss is dipping into a different chapter of world Jewish history with his next project: a Showtime miniseries produced with the co-creators of the Israeli Netflix series “Fauda” that explores CIA operations in the Middle East and is partially set during the Lebanon War in which Israel had a heavy, and oft-criticized, military presence. The series will air this summer.
He has also been pitched a host of WWI and WWII-related projects in the wake of the success of “All Quiet.” But, he joked, “I would love for people to not only think of me as the war guy, or as the dictator guy.”
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Hollywood’s Jews take sides in Mark Ruffalo-Paramount antisemitism row
(JTA) — Some 170 notable Jewish personalities have released an open letter defending actor and producer Mark Ruffalo, who has been accused of antisemitism for his comments on Paramount Skydance’s pending acquisition of Warner Bros. Discovery.
Entertainers, rabbis and a physician who is featured in a new documentary about doctors treating Palestinians in Gaza signed the letter released Wednesday, which called the attacks against Ruffalo a “false and dangerous weaponization of charges of antisemitism.” George Clooney also defended Ruffalo on Thursday.
Signatories of the pro-Ruffalo petition include “Broad City” creators Abbi Jacobson and Ilana Glazer; celebrated filmmakers Joel Coen, Jonathan Glazer and Todd Haynes; Pulitzer Prize-winning playwright Tony Kushner; and actors including Hannah Einbinder, Joaquin Phoenix and Debra Winger.
In late August, Ruffalo, the award-winning actor and progressive activist, went on social media to link Paramount Skydance CEO David Ellison, the chief driver of the looming Paramount-Warner Bros. merger, to tech giant Oracle, which Ruffalo claimed is responsible for “an apartheid system of oppression” in Gaza.
Oracle is owned by Ellison’s father, Larry Ellison, one of the world’s richest men; both Ellisons are Jewish and prominent Israel supporters. Oracle also owns a stake in the social media network TikTok’s U.S. operations, and has long been a target of progressives who point to the company’s links to, and public support for, Israel.
“Larry Ellison will own most of ‘Para Bros,’” Ruffalo wrote in the post, which is no longer available, according to a screenshot reproduced by the Hollywood Reporter. The “Spotlight” and Marvel star also called Larry Ellison a “classic oligarch” who is “crushing workers and consolidating the wealth of the world for their own power and concentrated dominance.”
The $110 billion merger is under adjudication in federal court in California following an antitrust lawsuit filed by 12 state attorneys general and the Writers Guild of America. As backlash to the merger has steadily grown across Hollywood and in political and media spaces, Paramount at least since June has been pushing the idea that opposition to the merger has had an antisemitic element.
The company seized on Ruffalo’s comments, immediately releasing a lengthy statement to media after his controversial social media post that accused the actor of invoking “antisemitic tropes,” adding, “This simply exposes the true motivation of some who have advocated opposition to this transaction.”
Several leading Jewish groups have also said his post stepped beyond legitimate criticism of the merger and into classic antisemitic rhetoric about Jewish wealth and power.
In an August statement, the head of the Jewish Federation of Greater Los Angeles said the actor’s comments “combined Jewish wealth, media control, secret technology and sinister global power,” drawing on “recognizable antisemitic tropes with a long and dangerous history.” Other LA-based Jewish activist groups, including Creative Community For Peace and the Simon Wiesenthal Center, have also condemned his comments.
Speaking amid the unfolding controversy about Ruffalo and his use of the word genocide to describe Israel’s campaign in Gaza, “Fauda” co-creator Avi Isaacharoff called him “a rare combination” of “ignorant” and “stupid.”
The Jewish Telegraphic Agency has reached out to Shani Rosenzweig, Ruffalo’s agent and a prominent Jewish entertainment figure in her own right, for comment and a Ruffalo interview request. Rosenzweig did not respond to either request.
Ruffalo has found support from several progressive Jewish figures beyond the entertainment industry, including IfNotNow co-founder Simone Zimmerman, Israeli Holocaust historian Raz Segal and Jewish Currents editor Peter Beinart.
In their open letter defending Ruffalo, the progressive Jewish cohort argued the actor was right to draw links between Israel’s behavior and the merger.
“Pointing out the crucial connections between what is happening in Gaza and what is happening in Hollywood is the exact opposite of antisemitism,” the letter reads. “It is, for us, the very essence of Jewish ethical duty.” The letter points to specific statements from Larry Ellison, and Oracle executives, describing their surveillance and artificial-intelligence technological ventures and their positive relationship with Israel.
Other entertainment figures have tried to thread a more careful needle. Oscar-winning filmmaker Kenneth Lonergan, who has directed Ruffalo in two movies and was at one point developing an American remake of the hit Israeli TV series “Shtisel,” defended the actor from antisemitism charges this week while also noting, “I disagree profoundly with many of his positions on the Middle East, Israel, Gaza, and Iran’s constellation of fanatical Islamist fundamentalist proxies.”
“But Mark and I have been friends for over 30 years,” Lonergan continued in his letter to the Hollywood Reporter. “The notion that he is antisemitic is overtly preposterous, and the accusation itself a cynical and disgusting lie.”
Ruffalo is soon scheduled to attend the Toronto International Film Festival for the Sept. 10 premiere of the biopic “Being Heumann,” about Jewish-American disability rights activist Judy Heumann, in which he co-stars.
Opposition to David Ellison’s bid to combine two historic media giants, each having recently weathered smaller mergers of their own, has grown considerably in recent months. Those objections have come both from Hollywood rank-and-file concerned about further industry consolidation, as well as from political and media figures voicing objections to Ellison’s close ties to President Donald Trump and his intentions with Warner’s flagship news property, CNN.
The merger was initially thought to be on track to be finalized this fall with Trump’s blessing. The president has publicly championed the merger, and his Justice Department approved the deal in June. But talks have ground to a halt following the antitrust lawsuit. The fate of the merger is now in question, with Paramount having agreed to a trial in March 2027 and on the hook for a $7-million-per-day “ticking fee” it had previously agreed to pay out to shareholders if the deal failed to close by this October.
Prior to Ruffalo’s post, Ellison himself published a New York Times op-ed defending his merger plans.
This article originally appeared on JTA.org.
The post Hollywood’s Jews take sides in Mark Ruffalo-Paramount antisemitism row appeared first on The Forward.
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Spanish far-right activists use Nazi-style salutes in anti-migrant protests
(JTA) — MADRID — Dozens of far-right activists raised their arms in Nazi-style salutes and sang a Spanish fascist anthem in the heart of Madrid on Wednesday, amid protests against the government’s handling of migration.
Between 60 and 70 members of Núcleo Nacional, an ultra-nationalist anti-immigrant group, participated in mass demonstrations of tens of thousands of people across Spain, a spokesperson for the group told the Jewish Telegraphic Agency. The protests were in response to an influx of migrants from Morocco into Ceuta, a Spanish territory in North Africa.
The broader demonstrations in Madrid were called by Spain’s conservative People’s Party and far-right Vox party, drawing about 50,000 people to the streets, according to government estimates. The protests were planned for Ceuta Day, a holiday marking the Portuguese conquest of Ceuta from the Marinid Sultanate of Morocco in the 15th century, beginning centuries of Portuguese and later Spanish rule.
Núcleo Nacional activists were shown on video making the outstretched-arm gesture associated with neo-Nazi movements and chanting, “Ceuta is not for sale, Ceuta will defend itself.” They also sang the song “Cara al Sol,” a fascist anthem from 1935 that became central to the regime of former Spanish dictator Francisco Franco, who ruled from 1939 to 1975. Núcleo Nacional denied a link between their gesture and Nazi history.
The demonstration ended in clashes between protesters and police, with four people arrested and four police officers injured, according to local authorities. Protesters were also shown on camera grabbing, pushing and cursing at multiple journalists who were covering the rally.
Francisco Martín Aguirre, the delegate of the Spanish government in Madrid, condemned “the violent acts that occurred at the end of the gatherings in Madrid.”
“All respect to those who legitimately and peacefully protest for the cause they deem fit,” he said on X. “Violence is never the way and those who daily incite it are also responsible.”
A spokesperson for Núcleo Nacional told JTA that the group was not performing a Nazi salute, but an “Iberian or Roman salute.”
“It represents our ancestors,” the spokesperson said. They added that the group was protesting to “support the people of Ceuta.”
The outstretched arm salute in Nazi Germany was inspired by a gesture popularized in the 1920s in Italy’s fascist movement, which later allied with the Nazis. The Italians called it a Roman salute, though researchers say there is no evidence linking it to ancient Rome. Franco also instituted the gesture in 1937, then instructed Spaniards to abandon it in 1945 after the Axis powers lost World War II.
More than 72,000 Moroccan migrants crossed into Ceuta between July 30 and July 31, with at least 100 people dying in the attempt. Most have returned to Morocco, but some 5,000 remain in makeshift shelters or on the streets and beaches, inflaming tensions between migrants and local residents and heaping pressure on the left-wing government of Spanish Prime Minister Pedro Sánchez.
Núcleo Nacional has about 2,000 members, many from neo-Nazi and Francoist groups that lost their capacity to mobilize, according to the Global Network on Extremism and Technology. The group has grown rapidly and opened four regional branches since its founding in 2024. Earlier this year, it registered a political party as Noviembre Nacional.
The group pledges to defend the white race, Christianity, the Spanish nation and Europe against foreign and domestic enemies, including migrants, internal independence movements and “multicultural globalism.” Spain’s Civil Guard last year opened an investigation into Núcleo Nacional after it posted a video calling for groups to “actively defend” the streets and “jointly fight against the invasion” of immigration.
Núcleo Nacional leaders have also denied the Holocaust and suggested that Israel orchestrates migration to Europe, according to the Observatory of Antisemitism, a Spanish watchdog organization. Núcleo Nacional said in a 2024 statement, “Any Spanish patriot should not forget that it is Israel that is financing the Maghrebi invasion to which all of Europe is being subjected.”
On Núcleo Nacional’s social media channels, it has claimed that it is targeted by “the Jewish-Zionist lobby in Spain” and accused the “international Jewish-American financial elite” of “buying up Spain at bargain prices while ruining us.”
This article originally appeared on JTA.org.
The post Spanish far-right activists use Nazi-style salutes in anti-migrant protests appeared first on The Forward.
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US House passes bill stripping federal funds from universities that boycott Israel
(JTA) — The U.S. House of Representatives on Thursday approved a bill that would prevent federal funds from going to academic institutions that participate in commercial boycotts of Israel.
The HR 4795 bill, co-sponsored by North Carolina Republican Rep. Virginia Foxx and New Jersey Democrat Rep. Josh Gottheimer, passed in a 237 to 169 vote, with 203 Republicans, 33 Democrats and one Independent in favor. Whether Democrats will grant sufficient support to pass the legislation in the Senate remains unclear.
If the Protect Economic and Academic Freedom Act goes on to become law, it would amend the Higher Education Act of 1965 to require universities to refrain from “participating in a nonexpressive commercial boycott of Israel” in order to remain qualified for certain funds.
Expressive conduct is “symbolic speech” designed to relay a message, like picketing, marching, flag desecration and draft-card burnings. A 2022 U.S. Court of Appeals ruling deemed economic boycotts nonexpressive commercial conduct as opposed to independent expression.
In addition to forbidding boycotts, the legislation also stipulates that institutions receiving such funds would need to “certify that students are not unreasonably obstructed from participating in academic programs in Israel.”
“This bill is an important step forward in ensuring academic freedom for all students,” Gottheimer, who is Jewish, said in a statement. “I will push the Senate to take up the bill shortly so it can become law.”
Foxx, meanwhile, stressed that the act “takes a strong stand against the BDS movement on college campuses across the nation,” referring to the Boycott, Divestment and Sanctions campaign that aims to put economic pressure on Israel by barring the purchase of Israeli products and suspending trade agreements.
“This legislation has true teeth and completely severs any possible taxpayer support of these concrete campaigns of antisemitism in the form of BDS and academic boycotts of Israel,” Foxx added.
The Anti-Defamation League welcomed the bill’s passage on Thursday, deriding BDS activities as a tool used “to delegitimize Israel and demonize Jews and other students for their connection to the Jewish state.”
The Combat Antisemitism Movement, an interfaith advocacy group that aims to fight “Jew hatred,” echoed these sentiments. A Thursday statement from the coalition noted that ahead of the vote, the group had sent a letter to all U.S. House members conveying its support for the bill.
“Academic boycotts of Israel harm American students and scholars, weaken vital U.S.-Israel research collaboration, and lend the credibility of American universities to a discriminatory campaign that singles out the only Jewish state,” the letter stated.
Among the 32 Democrats to join Gottheimer in supporting the bill were many prominent Jewish lawmakers, such as Debbie Wasserman Schultz, Lois Frankel and Jared Moskowitz of Florida; Greg Landsman of Ohio; Brad Schneider of Illinois; Eugene Vindman of Virginia and Kim Schrier of Washington.
Yet not all Jewish legislators, even those who are against BDS, voted in favor of the bill. Ahead of the vote, Rep. Jerry Nadler, a Democrat from New York, vowed in a statement that he would vote against the bill and urged his colleagues to do the same.
While Nadler voiced his antipathy to BDS and acknowledged that proponents of the movement “can veer into antisemitism,” he stressed that “those who engage in BDS have a First Amendment right to do so.”
The liberal pro-Israel lobby J Street offered similar opposition, arguing that this bill would mean “infringing on constitutionally protected free speech and academic freedom.” Noting a distinction between Israel proper and the West Bank, J Street stated that “penalizing universities for expressing their opposition to activities that further annexation sets a dangerous precedent.”
Nadler, meanwhile, described the measure as both “a direct and gross violation of the First Amendment” and “the latest assault by the Trump Administration” on the nation’s academic institutions.
“No matter how much I may disagree with BDS, and find it strategically stupid and morally repugnant, I will always fight to protect Americans’ right to speech with which I disagree,” he added. “It is the only way to ensure speech I do agree with is equally protected.”
This article originally appeared on JTA.org.
The post US House passes bill stripping federal funds from universities that boycott Israel appeared first on The Forward.
