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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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The post A Jewish producer of ‘All Quiet On The Western Front’ sees his family history in the Oscar-nominated Netflix film appeared first on Jewish Telegraphic Agency.
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Tim Walz: Get Anne Frank’s Name Out of Your Mouth
Former US Vice President and Democratic presidential candidate Kamala Harris and her running mate Minnesota Governor Tim Walz hold a campaign event in Eau Claire, Wisconsin, US, Aug. 7, 2024. Photo: REUTERS/Kevin Mohatt
Many Holocaust survivors I’ve interviewed have said it pains them when people compare anyone to Hitler and the Gestapo, or compare things to the Holocaust to try to get attention or make a political point.
They’ve also mentioned how people use Anne Frank’s name for political purposes, because most schoolchildren have read her diary.
Minnesota Governor Tim Walz (D), who, after a scandal involving alleged fraud in his state, announced he is not running for re-election, recently said the following: “We have got children hiding in their houses, afraid to go outside. Many of us grew up reading that story of Anne Frank…”
As January 27 is International Holocaust Remembrance Day, many, including Jews, will make false comparisons to the Holocaust, because they imagine this makes them noble and a fighter for social justice.
Anne Frank died in a concentration camp called Bergen-Belsen weeks before its liberation by British forces who found thousands of corpses and about 55,000 emaciated prisoners. The camp was of course run by Nazis. Frank hid in what was known as the annex in Amsterdam for 761 days. She had no option to be deported to another country safely, nor was she in Amsterdam illegally. She knew being discovered likely meant death.
I am sure illegal immigrants fear being deported and some legal immigrants may fear detention. Walz could have said that without invoking the name of Anne Frank. He did this because his goal is to paint Federal agents with a big red Nazi brush. It is also understandable that many are angry after a Federal agent shot Alex Pretti, with video footage showing Pretti did not brandish his gun, and Walz would be correct to rebuke Kristi Noem, Secretary of Homeland Security for her characterization of Pretti.
But it is important to know about communist propaganda.
In 1967, the Soviets realized there was a branding problem. The country regretted its support for Israel officially becoming a state in 1948, because it since had become a strong ally of America. The solution? The rebrand of Israel via Holocaust inversion.
Imagine! Those who rose from the ashes of the Holocaust had done so, only to become Nazis themselves. What a twist to the story! Israel would not be the David, but, rather, the Goliath.
It took some time, but by 1975, they passed Resolution 3379 at the United Nations, where the text stated that, “Zionism is a form of racism and racial discrimination.” Fifty years later, this effort has gone past their wildest dreams, with the help of Qatari funding. Most of the world lambasts Israel at every turn, blaming Israel as one of the world’s worst oppressors. Even those propagandists never thought there would be a day where Jews were called “Zio-Nazis.”
This is why Walz sees nothing wrong with a false Anne Frank comparison. Some Jews, blinded by their hatred of President Trump, don’t stop to think about the damage of false Nazi comparisons.
This does not mean one should not criticize any president or demand accountability. Sadly, people are captured by a narrative that is popular, and are not interested in much else.
A false comparison doesn’t strengthen a point, it only takes away credibility. When anyone makes any claim, you should ask: What is your evidence for that? If they don’t have it, you should tell them to use a correct phrase and retract a claim or characterization if it is false.
The reason false Nazi comparisons are a problem is that they have become a prominent component of antisemitism.
It is the Jewish way to fight against racism and to seek justice. But those who make false Holocaust comparisons dishonor the memories of those who died in the Holocaust.
The author is a writer based in New York.
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Soccer Clubs Around the World Mark International Holocaust Remembrance Day With Commemorative Events
FC Bayern and Munich FC Augsburg holding a poster to commemorate the Holocaust #WeRemember campaign. Photo: IMAGO/MIS via Reuters Connect
Soccer clubs around the world commemorated International Holocaust Remembrance Day on Tuesday by pledging to honor victims of Nazi persecution through campaigns, memorial events, and other gestures to show the importance of remembering the atrocities of World War II.
Germany’s professional leagues — including FC Bayern and Augsburg – held over the weekend a series of memorial events and matches across the country opened with a moment of silence dedicated to the #WeRemember campaign by the World Jewish Congress. The campaign aims to keep the memory of the Holocaust alive. This year’s Holocaust Remembrance Day marks the 81st anniversary of the liberation of the Auschwitz-Birkenau extermination camp in 1945.
Vor dem Spiel haben beide Mannschaften der Befreiung Auschwitz‘ gedacht. Im Stadion gab es eine Schweigeminute.#WeRemember #DSCKSV pic.twitter.com/U098DdMbiW
— Arminia ist wieder da (@arminiawiederda) January 23, 2026
In Italy, a commemorative ceremony in memory of Jewish Hungarian soccer player and coach Árpád Weisz was held Tuesday morning at Stadio Renato Dall’Ara and organized by Bologna FC. Those in attendance included Bologna FC CEO Claudio Fenucci, a delegation from the club’s youth sector, Bologna City Councilor for Sport Roberta Li Calzi, and Emanuele Ottolenghi, vice president of the Jewish community of Bologna.
Weisz lived in Italy and led Bologna to league and international victories. He also coached Fiorentina and Inter Milan, and was the first coach to claim Italian titles with two clubs. He additionally is credited with discovering talented players such as Giuseppe Meazza. He, his wife and two children were deported to the Auschwitz concentration camp, where they were murdered by the Nazis. He died in 1944 at the age of 47.
The FIGC, which is the governing body of soccer in Italy, is running a campaign on its official website and social media channels to commemorate the victims of the Holocaust. The campaign features an image of empty seats in a stadium, to remember those murdered by the Nazis.
“Remembering is not enough; there is an absolute need to stay aware of one of the greatest tragedies in human history,” said FIGC President Gabriele Gravina. “To know is to prevent, to fight, to protect, to respect. [Soccer], with its social impact, can serve as a powerful platform to spread messages of profound significance, especially to younger generations, who did not experience this atrocity firsthand but have both the right and the duty to understand it.”
England’s Manchester United marked Holocaust Remembrance Day by making a pledge “to listen, learn, and carry the legacies forward of the millions of innocent lives that were taken under persecution.”
The Football Association, which is the governing body of soccer in England, said in a released statement that International Holocaust Remembrance Day “is for everyone. It brings people together from all walks of life to strengthen communities and stand up against hatred and discrimination.”
“As the years pass, we’re growing more distant in time from the Holocaust and from the other, more recent genocides that are commemorated on HMD. That distance brings a risk – memory fades and the sharp reality of what happened becomes blurred, abstract, or even questioned,” the FA added. Soccer “has the power to bring people together in so many ways, can eradicate social barriers and be a force for good across communities. One of our key commitments is to do everything in our power to deliver a game free from discrimination and that will never stop, which is why IHMD is so important.”
The British club Chelsea FC hosted on Tuesday at its stadium a free exhibition, open to all visitors between 10 am and 2 pm, which highlights “the achievements, struggles, and resilience of athletes before, during, and after the Holocaust.” Visitors also learn about the role sport played in fighting against Nazi persecution, and the exhibit shares the stories of Jewish athletes persecuted under Nazi rule as well as the post-Holocaust rise of Jewish sports figures such as Mark Spitz, one of the most decorated Olympic swimmers of all time. The exhibition is produced by Yad Vashem in partnership with the Jewish Ethics Project and the soccer team’s Jewish Supporters’ Group.
Tottenham Hotspur hosted a Holocaust Memorial Day event for faith leaders and students, while Fulham FC shared on its website and YouTube channel a video of Holocaust survivor Barbara Frankiss talking to three Fulham players about her experience facing Nazi persecution and the importance of Holocaust remembrance.
We were honoured to host Haringey’s annual Holocaust Memorial Day event, uniting faith leaders and students from across our community to reflect on this year’s theme ‘Bridging Generations’.
#HolocaustMemorialDay #HMD2026 pic.twitter.com/dQIZk4VpUF
— Tottenham Hotspur (@SpursOfficial) January 27, 2026
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So many Jews stars in this comedy, so few chances for them to shine
At the heart of Fantasy Life, which marks Matthew Shear’s directorial debut, is a sweet relationship between dropout law student Sam (Shear) and mother-of-three Dianne (Amanda Peet). Sam is — as the movie clunkily establishes — a clumsy mess with some mental health issues; she is a former child actor who, at 51, feels washed up as an artist.
They are brought together when her husband’s parents suggest Sam as an emergency babysitter for her young daughters. Sam’s “mannying” opportunity arises when he visits his therapist after getting laid off, because he needs to confess a compulsive antisemitic tic he has developed. His imperturbable therapist (Judd Hirsch) employs his wife (Andrea Martin) as office administrator and it is she who extends both repeated good wishes to his parents and the possibility of him looking after her granddaughters. Over the course of the seasons around which the film is structured, Sam becomes the girls’ nanny and, since Dianne’s rock bassist husband David (Alessandro Nivola) is away on tour they get to know each other. The two find solace and hope in each other.
Although Nivola portrays David as a douche, and although there is sexual tension between the two leads, their relationship is treated gently and with nuance. David and Dianne’s marriage is on the rocks, but is limping along. Much to the relief of Dianne’s wealthy parents (Bob Balaban and Holland Taylor) as well as to the movie audience, the film does not — as it threatens — lurch into the tabloid spectacle of “Manny Beds Mommy.”
Shear is best known for his acting, with supporting roles in a number of Noah Baumbach films and, most recently, a similar ensemble role in Nathan Silver’s Between the Temples. As a director, Shear is clearly in love with Peet who, thus encouraged, gives a luminous performance. Shear, who also wrote the film, tries too hard to evoke the three distinguishing characteristics of his role: appealing, awkward, smart. It’s his movie but he does not look like he’s enjoying starring in the action. Perhaps he should have just cast his look-alike Adam Pally (Dr. Peter Prentice in The Mindy Project) as Sam.
Shear’s experience in the film industry has given him access to some high profile actors. His willingness to use them means that he sets the bar for his first film too high. After all, sending what is effectively his student film to SXSW for its premiere is a bold statement as is casting Zosia Mamet along with the aforementioned Balaban, Taylor, Nivola, Hirsch, Martin and Peet. Having this many celebrity names in a single production earns it attention, I guess. But it also means more scrutiny for a production than you might otherwise expect, or even want.
Though Shear succeeds in gently evoking an odd, imbalanced relationship between two people on either side of a familiar community but in different stages of life, he often does so in ways that are crudely conceived, not fully realized, or lacking a unified aesthetic. The film bills itself as a comedy, but there are few laughs and the drama lacks sustained intensity.
The film grew out of an idea Shear had brought to Pizza Club — what his friend the actor Ashley Zukerman (who does not appear in Fantasy Life) described as a few friends “going out for pizza under the guise of helping each other with projects.” Shear has been picking up bits of stories here and there, and you can feel the elements of authenticity: For example, Dianne gets recognized at a restaurant, but the star-struck waitress thinks she’s Lake Bell.
Too often, though, the scenes feel contrived. A detail announces itself as a choice rather than something organic, or a scene’s very presence seems justified only by what it’s meant to explain. It’s easy to hear the director telling the actors what to do — “Judd, do that thing with your hands”; “Andrea, just stand around helplessly tearing your hair out.” Scenes function less as drama than as annotation, dutifully clarifying Sam’s social awkwardness or her agent’s thinly veiled contempt for Dianne. Or to highlight some relationship development — let’s show how Dianne and Sam view the manny-Mommy relationship differently by showing two bumping into each other when he has the kids: He looks at her, she is happy to see him and kids, but is quite as happy to move off again.
As far as the production goes, the design is unobtrusive and the cinematography is crisp and clear. And, though he under-uses the excellent actors at his disposal — Balaban has a far wider range than the one note of disgust at the schmuck manny that he evinces repeatedly — he does not betray them. The celebrity pantheon actually adds to a homely feeling. It’s almost a joke itself, when you recognize almost every character in the movie because they are well-known actors. And that sense of familiarity is totally in keeping with the movie’s New York vibe.
Fantasy Life will conclude the New York Jewish Film Festival on Jan. 28.
The post So many Jews stars in this comedy, so few chances for them to shine appeared first on The Forward.