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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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A Jewish farmer broke ground on a synagogue in an Illinois cornfield. His neighbors showed up to help.
STERLING, ILLINOIS — On Wednesday, Nik Jakobs was planting corn. On Thursday, the 41-year-old Illinois cattle farmer stood in a two-acre cornfield preparing to plant something else: a synagogue.
Around 75 people gathered on the edge of the field this week in Sterling, Illinois, a two-hour drive west of Chicago, where Jakobs and his family broke ground on a new home for Temple Sholom, the small congregation that has anchored Jewish life here for more than a century, and where his family has prayed since the 1950s.
The planned 4,000-square-foot building will also house a Holocaust museum inspired by the story of Jakobs’ grandparents, Edith and Norbert, who survived the war after Christian families in the Netherlands hid them in their homes for years. Jakobs described the future museum as a place devoted not only to Jewish history, but to teaching the dangers of hatred and division. “If you have the choice to be right or kind,” he said, repeating advice from his grandmother, “choose kind.”
A 60-foot blue ribbon — chosen by Jakobs’ wife, Katie, to match the color of the Israeli flag — stretched across the future building site. His four daughters held it alongside his parents, brothers and friends. Then Jakobs lifted oversized gold scissors and cut the ribbon as pastors, farmers, city officials and members of neighboring churches applauded.
I’m writing a book about a young Jewish farmer who is building a synagogue in a two-acre cornfield in rural Illinois using sacred objects (ark, Torah, stained glass windows) donated by closing congregations across America. Today, they held the groundbreaking. 🧑🌾 🌽🕍 pic.twitter.com/90TynBMWHC
— Benyamin Cohen (@benyamincohen) May 8, 2026
The synagogue rising from this Illinois cornfield will house pieces of the past.
A nearby storage area holds Jewish objects Jakobs rescued from shuttered synagogues across the country: stained-glass windows, Torah arks, rabbi’s chairs, memorial plaques and wooden tablets engraved with the tribes of Israel. Many came from Temple B’nai Israel, a 113-year-old synagogue that closed down in 2025. It served generations of Jews in McKeesport, Pennsylvania, now a ghost town since the steel mills closed. Its remaining congregants donated sacred objects to Jakobs so their story could live on rather than disappear.
The day before the groundbreaking, the Jakobs family began opening some of the crates for the first time since they were packed away nearly a year ago. Nik’s father, Dave Jakobs, pried open one box with a hammer and crowbar while Nik loosened screws with an electric drill, the family gathered around like archaeologists opening a tomb.
Inside was a stained-glass window with images of a tallit and shofar bursting in jewel tones of blue, yellow and red. Jakobs’ mother, Margo, lifted Annie, the youngest of Nik’s daughters, so the 4-year-old could peer inside. The bright red glass matched the bow in her hair.
Nearby sat the massive wooden ark salvaged from Pennsylvania, topped with twin Lions of Judah whose carved paws once overlooked generations of worshippers.
Faith on the farmland
Temple Sholom — founded in 1910 — was once the center of Jewish life in Sterling, a town of 14,500 surrounded by flat farmland and tall grain silos. Its Jewish community once included a pharmacist, the manager of Kline’s department store and the owner of a local McDonald’s franchise.
Over time, membership dwindled. The roof sagged. The pews emptied.
Last year, the congregation sold its aging building and relocated High Holiday services to a tent on the Jakobs’ farm, where prayers mingled with the smell of manure and cattle lowing nearby.
At a moment when many small-town synagogues are closing, Temple Sholom is doing something increasingly rare: building a bigger new sanctuary from scratch. The synagogue will sit prominently along one of Sterling’s main roads — a highly visible expression of Jewish life in a region where Jews are few.
Thursday’s groundbreaking took place on the National Day of Prayer, the annual observance formalized under President Ronald Reagan, who grew up a few miles away in Dixon, Illinois. Earlier that morning, attendees gathered inside New Life Lutheran Church for a breakfast sponsored by Temple Sholom.
“I was so happy to see bagels, lox and cream cheese,” said Rev. James Keenan, a Catholic priest originally from Brooklyn. “It reminded me of home.”
Inside the church sanctuary, a large wooden cross glowed amber and blue above the dais while two giant screens displayed the National Day of Prayer logo. Jakobs, wearing cowboy boots, jeans and a powder-blue blazer, addressed the crowd.
“Tolerance is not weakness,” he said. “It is strength.”
The new synagogue will sit beside New Life Lutheran Church on land sold to Temple Sholom by farmer Dan Koster, 71, who has known the Jakobs family for three generations.
“We need more religious presence in the community,” Koster said.
For Drew Williams, New Life’s 38-year-old lead pastor, the synagogue and museum represent more than neighboring buildings. His church already hosts food-packing drives, summer meal programs and community events. He imagines future partnerships with Temple Sholom.
“I don’t think there’s any community that is immune to hate,” Williams said. “That just means it’s on us” to be on the other side “spreading peace.”
Sterling Mayor Diana Merdian, who is 41 and grew up in town with Jakobs, said the project reflects a broader desire among younger generations to preserve local history and identity. “If we don’t carry those stories, we lose them,” she said. “Once you lose that, you can’t get it back.”
During the ceremony in the cornfield, Temple Sholom’s longtime cantor, Lori Schwaber, asked those gathered to remember the congregation’s founding members and recite the Mourner’s Kaddish together. Jews and Christians stood side by side in the prairie wind as Hebrew prayers drifted across the open farmland.
Lester Weinstine, a 90-year-old congregant who was the first bar mitzvah at Temple Sholom when the shul was still housed out of a Pepsi bottling plant, looked out across the field in disbelief. “I never thought I would see this,” he said.
For Jakobs, the synagogue project has become inseparable from the lessons his grandparents’ survival taught him. “You sometimes feel on an island as a Jew, especially in rural America,” he said. “But this community — that’s not what I’ve experienced here.”
If construction stays on schedule, the synagogue will open in fall 2027. Its first major service will not be a dedication ceremony, but the bat mitzvah of Jakobs’ oldest daughter, Taylor.
Members of the Pennsylvania congregation are planning a bus trip to Illinois for the occasion, after donating many of their sacred objects to help build Jakob’s synagogue. Their former rabbi has offered to officiate.
“If a farmer can build a synagogue in a cornfield,” Jakobs said, “anybody can do it anywhere.”
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At this interfaith calligraphy class, the lines between Jew and Muslim blur
“So…are you Middle Eastern?”
I had just walked into the American Sephardi Federation office in lower Manhattan, where 20 Muslim and Jewish young people gather twice a month to learn Arabic and Hebrew calligraphy together. I was clearly the newbie, and one of the participants was sussing me out.
“I am,” I replied.
“Fully?” he asked.
I gave my usual spiel, explaining my Iraqi and Iranian background.
“Sick,” he said. “I’m only half.”
It struck me then that neither of us had any idea whether the other was Muslim or Jewish.
As I broke bread with the group, we chatted over an odd but familiar spread of kosher pizza and Gojeh Sabz, golf-ball-sized and very tart plums – a common Middle Eastern fruit many of us grew up eating. Somehow, religion didn’t really come up.
Eventually, felt-tipped multicolored calligraphy pens were passed around, and we began learning to write Hebrew letters — letters I had been perfecting since I embarked on my Hebrew School journey as a fourth grader. I was terrible. My reyshes weren’t swooping as they should, my khafs were somehow uneven and my yuds looked suspiciously like daleds.
Across the table, a young man who had introduced himself to me minutes before as Mohamad from Saudi Arabia had effortlessly filled the page with elegant Hebrew letters. He noticed my frustration. “Don’t worry,” he said. “I’ve done this like a million times. You’ll get it.” 
The person at the helm of this unusual form of interfaith exchange is Ruben Shimonov, a 39-year-old Sephardic polymath. I first discovered Ruben’s work when I saw an exhibit of his calligraphy blending Hebrew, Arabic and Farsi at the Museum of Jewish Heritage. I assumed he was a full-time artist, but soon learned that his main gig is serving as an educator and interfaith organizer. He mentors dozens of Sephardic college students, hosts LGBTQ+ Sephardic Shabbats. Now, he leads Sacred Scripts in NYC, a new six-month-long cohort-based interfaith calligraphy fellowship where Jewish and Muslim community leaders learn the intertwined history and etymology of Hebrew and Arabic.
Shimonov was born in Uzbekistan, a Muslim-majority country. For him, that background makes interfaith work feel like an extension of his upbringing.
“As a Jew from a community whose culture was shaped by Islamic cultures and histories, it is a natural expression of my Jewish identity to be in interfaith spaces,” he told me. “It’s not something I do because it’s cool or sexy or whatever. I just feel at home, because these are my people. This is my own background.”
From a young age, he was drawn to language, inspired in equal measure by the Hebrew letters he learned for his bar mitzvah and the Arabic script that adorned the mosques and architecture of his hometown.
Eventually, he taught himself calligraphy in three languages and came to see it as a powerful tool for the interfaith work he was already doing — organizing gatherings such as iftars in synagogues and seders in mosques through the Muslim Jewish Solidarity Committee. Over the past decade, Shimonov has led more than 100 interfaith calligraphy workshops around the world, highlighting the deep historical and linguistic connections between Hebrew and Arabic.
This year, Shimonov launched Sacred Scripts alongside his longtime partners at the Muslim American Leadership Alliance (MALA), drawing fellows from networks he and MALA have built over the years. The program brings together young artists and community leaders — many with Middle Eastern backgrounds — who they feel stand to benefit from sustained engagement. Over the course of six months, fellows study calligraphy and the histories of the languages, while connecting over shared meals and cultural outings. This month, they are attending a concert focused on Jewish and Muslim music from the Maghreb.
After Oct. 7, Shimonov said, he witnessed fractures between many Jewish and Muslim organizations that had been working together on interfaith initiatives. “That sense of betrayal and hurt was very real,” he said. “But if the only times you meet are when things are bad, what do you expect? I think the secret sauce to all this stuff is you’ve got to be in it for the long haul.”
The Sephardic connection
During each session, we practice writing while Shimonov lectures on the connections between the two languages. Shiminov gives each language its due, devoting several sessions to studying each before bringing them together.
Eventually, we learn the same words in Hebrew and Arabic — beit and bayt for home, Shabbat and al-sabt for Saturday — the list goes on. Before tackling day one of learning the Arabic alphabet, we practiced writing the phrase Bismillah ir-Rahman ir-Rahim, which appears at the beginning of every surah in the Quran, into Hebrew. Translated word-for-word, it sounds remarkably similar.
For Shimonov, that overlap is the point. He believes strongly that Sephardic and Mizrahi Jews occupy a unique place in interfaith work because of the seemingly endless cultural similarities they share with Muslims from the Middle East and North Africa.
That sensibility is reflected in the space itself. The fellowship is hosted at the American Sephardi Federation, a Jewish institution that looks more like a place to sip chai and do a close reading of Rumi’s greatest hits. The floors are covered with embroidered rugs, the walls are lined with ouds, a pear-shaped Middle Eastern instrument, and endless shelves are packed with rare books in Hebrew, Arabic and Farsi.
Because of these connections, the days focused on Arabic study are more Jew-y than one might expect. Shimonov takes care to highlight Jewish history in the Middle East, explaining how Iraq — not Europe — was the world’s foremost hub of Jewish life for centuries, where many Jews only spoke Arabic because Hebrew wasn’t widely taught, and presenting pivotal Jewish texts written in Judeo-Arabic.
In Shimonov’s Sephardic approach, the aim is less to “build bridges” — a phrase that has become a catch-all interfaith mantra — than to reveal how much was never separate to begin with.
Ali Saracoglu, a Muslim participant in the fellowship and an artist from Izmir, Turkey, said Sacred Scripts reshaped his understanding of Jewish identity.
When he moved to the United States, his primary exposure had been to Ashkenazi Jewish communities. “When you open the conversation to Sephardi and Mizrahi Jews, you encounter people from Uzbekistan to North Africa to descendants of communities from Spain,” he said. “You start to see a much more global form of Judaism.”
Saracoglu joked that within the group, it was often impossible to tell who was Jewish and who was Muslim unless it came up in conversation.
Nora Monasheri, a 23-year-old Iranian Jew, said that after Oct. 7, she had participated in countless interfaith dialogues at her alma mater, Binghamton University. “I felt like I’d been there, done that on campus,” she said, lamenting that such gatherers were “always very focused on Israel and Palestine, and it felt very forced.”
For her, creating calligraphy rather than debating peace agreements from the ’90s is a welcome change.
“I found that some of our most important words in Hebrew are the same in Arabic — faith, charity, blood — So instead of debating each other, we’re discovering this shared history, tradition, and spirituality together.”
For Saracoglu, the program’s artistic aspect is particularly powerful. He first met Shimonov at a one-off interfaith calligraphy workshop two years ago, an experience that stayed with him as an artist. He has been creating ebru, the traditional Turkish art of marbling, since the age of five, and now practices it in his New York City apartment. In a recent series he calls “One Word: Peace,” he layers his marbled designs with calligraphy by both Jewish and Muslim artists — often including Shimonov himself.
During one session, Shimonov read aloud from a Judeo-Arabic translation of the Torah, explaining that many Jews in the Arab world historically translated religious texts into Arabic because many did not understand Hebrew. The word for God was therefore transcribed as the Arabic word, Allah.
I chimed in that my own Jewish parents say “Inshallah” all the time when they simply mean “God willing.” My non-Sephardic friends always found this bizarre, but among this crowd, it barely required explanation.
As he read from the Torah, one Muslim fellow suddenly interrupted.
“It sounds like the Quran!”
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Netanyahu deploys AI videos as political weapon, aimed at voter fears of Arab power
As election season in Israel heats up, Israeli Prime Minister Benjamin Netanyahu and members of his government are deploying a charged weapon against their political opponents aiming to overthrow them: AI-generated viral videos.
In recent weeks, Netanyahu and key allies have taken to social media to post satirical content on their social media accounts, depicting their leading opponents, Yair Lapid and Naftali Bennett, as being controlled by Arab-Israeli puppetmasters.
One viral video posted by the prime minister last week, with over a million views, is captioned “taking off the masks.” It shows a smiling Bennett and Lapid embracing before peeling off their faces to reveal those of prominent Arab-Israeli political leaders Mansour Abbas and Ahmad Tibi.
מורידים את המסכות pic.twitter.com/IgFDWXp96N
— Benjamin Netanyahu – בנימין נתניהו (@netanyahu) April 29, 2026
After Bennett and Lapid announced in April that they would run jointly against Netanyahu in the upcoming fall elections, Israeli political Twitter flooded with AI-generated content on this theme, which goes for the jugular on a political vulnerability for Bennett: his past inclusion of Abbas’ Arab Ra’am party in his governing coalition.
One image posted by Likud, Netanyahu’s party, featured Bennett and Lapid depicted as children sitting obediently in the back seat of a car as Abbas drives. The photo is accompanied by the caption: “In any case, Bennett and Lapid will go again with the Muslim Brotherhood, the terrorism supporters.”
גם ביחד זה ברור – הנהג הוא מנסור.
לא משנה איך השמאל מחלק את הקולות שלו.
בכל מקרה בנט ולפיד ילכו שוב עם ברית האחים המוסלמים תומכי הטרור. pic.twitter.com/iYFIZQ8QhJ
— הליכוד (@Likud_Party) April 26, 2026
These AI videos reflect a growing post–Oct. 7 trend in Israeli politics: accusing one’s political opponents of being aligned with Arab parties as a way to delegitimize them.
Dr. Arik Rudnitzky, a researcher in the Arab Society in Israel program at the Israel Democracy Institute, said the trauma Israelis experienced after Oct. 7 has left a profound mark on the Jewish public. That fear, he said, is now being actively mobilized in political messaging.
“The post–Oct. 7 discourse is so influential in Israeli politics that it dictates everything,” Rudnitzky said. On Tuesday, Finance Minister Betzalel Smootrich went as far as to say that Naftali Bennett’s decision to include the Islamist Ra’am party in the 2021-2022 government was worse than the Netanyahu government’s failures tied to Hamas’s attacks on Oct. 7. This, despite the fact that Mansour Abbas has said that Netanyahu tried to court him into joining his coalition in 2021, though Netanyahu has denied this.
According to Rudnitzky, the implicit message is that Israel’s Arab parties are dangerous. The argument is that they are not Zionist (and some Arab parties are even explicitly anti-Zionist). In the aftermath of Oct. 7, while some Arab-Israeli political leaders condemned violence from both Hamas and the Israel Defense Forces on civilians, they stopped short of referring to Hamas as a terror organization. Some also failed to condemn the murder of Israeli soldiers on that day.
Now, Netanyahu’s government has taken to framing the choice for voters as existential. “Either you are with the most experienced prime minister in Israel’s history, or you are willing to gamble and put Israel at risk by electing Bennett and Lapid,” said Rudnitzky.
The use of AI by Israeli politicians, Rudnitzky added, makes that message more visceral. “It looks real, it goes straight to the back of your mind, and it hits a nerve.”
Bennett, for his part, has tried to distance himself from this narrative, stating after he announced that he would be running against Netanyahu, “The Arab parties are not Zionist, and therefore we will not rely on them.”
But the videos are taking their toll. Earlier this year, Bennett filed a police report after the Likud X account posted a doctored image that depicted Bennett celebrating with Arab leaders, with the men all raising their clasped hands in celebration. Bennett called the image “malicious forgery.”
Other politicians have deployed similar messaging tactics — against Netanyahu. In February, Avigdor Liberman, a right-wing critic of the prime minister, posted an AI-generated image of Netanyahu holding hands with Abbas in front of a bouquet of heart-shaped flowers, captioned: “Happy Valentine’s Day.”
יום אהבה שמח❤ pic.twitter.com/Sel1CkURFn
— אביגדור ליברמן (@AvigdorLiberman) February 14, 2026
In response, Netanyahu posted an actual photo of Lieberman meeting with Abbas with the caption: “Lieberman published a doctored AI photo of the PM holding hands with Mansour Abbas. So, Avigdor, here’s a real, unedited photo of you and Mansour Abbas.”
Lieberman then shared 10 posts of Netanyahu meeting with various Arab leaders since the 1990s, including former PLO Chairman Yasser Arafat and current Palestinian Authority President Mahmoud Abbas.
According to Rudnitzky, such wrestling-ring attacks have become normalized since Oct. 7, aimed at Jewish politicians and voters. “This is not about delegitimizing Arab voters,” he said. “The target is Naftali Bennett — not Mansour Abbas.”
A controversial pragmatist
Arab parties have long represented Israel’s Arab minority in the Knesset but historically remained outside governing coalitions. For decades, this arrangement — Arab parties supporting from the outside or remaining in opposition — was broadly acceptable to both sides. Arab politicians often avoided joining coalitions for ideological reasons, while Jewish parties largely viewed their inclusion as politically untenable.
That changed in 2021, when Abbas made history by joining the winning coalition led by Bennett and Lapid. That decision positioned him as a pragmatist, willing to work with Jewish parties to secure gains for Arab citizens.
In the aftermath of Oct. 7, Abbas issued the most explicit condemnations of Hamas among Arab Israeli political leaders. He has also said that “the state of Israel was born as a Jewish state, and it will remain one,” a rare acknowledgment of Israel’s identity in those terms. Still, no Arab-majority party in Israel defines itself as Zionist.
While it is considered to be the most moderate of the Arab parties in Israel, Abbas’ Ra’am is an Islamist party that emerged from the Islamic Movement in Israel and the Shura Council — organizations tied to the Muslim Brotherhood. Abbas has increasingly sought to distance the party from those groups and has denied any affiliation with the Brotherhood.
Forming a governing coalition in Israel requires at least 61 seats out of 120, and several polls have suggested that any viable opposition to Netanyahu would likely need Arab party support to reach that threshold. But reliance on Arab parties to form a coalition has become more contentious since Oct. 7.
According to the Democracy Index poll, 72% percent of the Jewish public in Israel opposes the inclusion of Arab parties in the governing coalition. Opposition extends beyond the right: 43% of centrist voters and 20% of left-wing voters also oppose such coalitions. Support has declined significantly since before Oct. 7, when roughly 36% of Jewish Israelis backed including Arab parties in government, compared to just 27% today.
Hence the opening for Bibi and his video blitz. “We’ve seen an escalating political discourse over the past several years. There are no more holy cows,” said Rudnitzky. “If you want to mobilize the entire Jewish public and you know that you are in an inferior position in the polls … this is the way to take the demons out of the bottle.”
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