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Disney+ series ‘A Small Light’ tells the Anne Frank story from the perspective of the woman who hid her
(JTA) — The short life of Anne Frank has inspired generations of filmmakers and television producers. The list of past productions range from “The Diary of Anne Frank” (1959), whose director George Stevens witnessed Nazi occupation as a U.S. army officer, to the Academy Award-winning documentary “Anne Frank Remembered” — featuring the only known footage of Anne — to the Emmy Award-winning dramatized miniseries “Anne Frank: The Whole Story” (2001).
On Monday night, viewers will get another TV version. But “A Small Light,” an eight-episode series premiering on National Geographic and streaming Tuesday on Disney+, tells the story from a new perspective: through the eyes of the woman who hid the Frank family.
Miep Gies was an independent 24-year-old with a busy social calendar and a dance club membership when she began working for Anne Frank’s father Otto in 1933 at Opekta, his successful jam business in Amsterdam. As Jews were rounded up and deported from the Netherlands in 1942, her Jewish boss asked if she would be willing to hide his family in an annex above the office, and she did not hesitate.
“A Small Light” stars Bel Powley as Gies, Joe Cole as her husband Jan Gies and Liev Schreiber as Otto Frank. It’s named for a quote from the real Gies, who once said that she did not like to be called a hero because “even an ordinary secretary or a housewife or a teenager can turn on a small light in a dark room.”
That metaphor had literal meaning for the Frank family and four others in the secret annex, who spent two years in a dark 450-square-foot space behind a hinged bookcase. Gies, her husband and four other employees of Otto Frank secretly kept eight Jews alive while running his business downstairs. Gies brought them food and library books, using black market ration cards and visiting several different grocers to avoid suspicion. Anne Frank said in her diary, “Miep is just like a pack mule, she fetches and carries so much.”
In the series, the “dark room” is seen less than Gies’ frenzied bicycle trips across Amsterdam, as she tries to sustain the appearance of a normal life. Her secret pushes her away from friends and family, while her marriage strains under the weight of ever-looming disaster. The creators of “A Small Light” sought to recreate a hero as a modern, flawed, at times even annoying person.
“She’s not some kind of saint,” executive producer Joan Rater told the Jewish Telegraphic Agency. “She had moods, she had a new marriage, she wanted to hang out with friends. She wanted to take a day off and she couldn’t.”
“I think everyone can relate to Miep,” said Powley, an English-Jewish actress known for starring in several British shows and in American films such as “The King of Staten Island.” “She was just an ordinary person in extraordinary circumstances.”
Although “A Small Light” is rife with tense scenes and suspense, the producers fashioned it with young audiences in mind. The show conspicuously avoids the explicit violence and horror typically expected of its subject matter, leaving out concentration camps and murders. Rater and co-creator Tony Phelan wanted children like their own to watch the series. While they were writing it, their daughter was the same age as Anne was when she was writing her diary.
Some young viewers have seen Anne’s story being swept up in literary purges across U.S. school districts, as part of the debate over what should be taught in American classrooms. Earlier this month, a Florida high school removed an illustrated adaptation of her diary after determining that references to her sexuality were “not age appropriate.” The same edition was previously yanked from a Texas school district, although it was reinstituted after public outcry. Meanwhile, a Tennessee school board banned “Maus,” Art Spiegelman’s Pulitzer Prize-winning graphic novel about his father’s experience in the Holocaust, after objections over curse words and nudity last year.
The name “Anne Frank” has long been synonymous with Holocaust education as her diary remains one of the world’s most-read books, with translations in over 70 languages. But the “relatable” rescuer presents another appealing way to teach children about one of the most wretched chapters in human history, said Brad Prager, a professor of German and film studies at the University of Missouri.
“It is the message that people like to hear,” Prager told the JTA. “If you ask a fourth-grader why we watch TV and movies — well, this is so that you can learn to do the right things, or you can learn that in certain circumstances anyone can be a hero.”
Liev Schreiber plays Otto Frank and Amira Casar plays Edith Frank in “A Small Light.” (National Geographic for Disney/Dusan Martincek)
A broader lens on the Netherlands during World War II is less palatable. The Germans and their Dutch collaborators implemented a highly effective system of persecution: Between 1942 and 1944, about 107,000 Dutch Jews were deported primarily to Auschwitz and Sobibor, then murdered. Only 5,200 of them survived.
Although Gies did everything she could to save the Jews in her care, the unwritten ending to Anne’s diary is well-known. Three days after her last entry in August 1944, Dutch police officers led by SS officer Karl Josef Silberbauer raided the annex. Gies escaped arrest by observing that she and Silberbauer shared a hometown.
“My luck was that the police officer in charge came from Vienna, the same town where I was born,” she said in a 1997 interview with Scholastic. “I noticed this from his accent. So, when he came to interrogate me, I jumped up and said, as cheerfully as I could, ‘You are from Vienna? I am from Vienna too.’ And, although he got very angry initially, it made him obviously decide not to arrest me.”
In a valiant last-ditch effort, Gies walked into the German police office the next day and attempted to buy her friends’ freedom. She was unsuccessful.
Gies found Anne’s notebooks and papers strewn on the annex floor. Without reading them, she gathered and tucked the writings into a drawer, hoping to return them to their owner. Germany had all but lost the war already, with Allied troops less than 250 miles from Amsterdam.
The Franks were packed on the last train ever to leave the Westerbork transit camp for the Auschwitz extermination camp. Otto was separated from his wife Edith and daughters Anne and Margot on the Auschwitz platform. In October, the girls were transported to Bergen-Belsen, and Edith succumbed to starvation in January 1945. Her daughters died of typhus a month later, when Anne was 15 years old.
Some studies have suggested that knowledge about the Holocaust is diminishing. In 2020, the Claims Conference found that 63% of Millenial and Gen Z Americans (ages 18-39) did not know that six million Jews were murdered in the Holocaust. More than 10% did not recall ever hearing about the Holocaust, while 11% believed that Jews caused it. Another Claims Conference survey reported that despite living in the country where Anne hid from the Nazis, a majority of Dutch people did not know the Holocaust took place there.
“In a time that antisemitism is on the rise and there are more displaced people in the world than there ever have been before, it couldn’t be a better time to re-explore this part of history, but through the lens of this ordinary young woman,” said Powley.
While “A Small Light” celebrates the power of the individual, the fate of Anne Frank also represents the failure of the whole world, said Prager. By centering Gies’ perspective, he said, the series risks making Anne a peripheral character in her own brutally aborted story.
“When you decenter Anne Frank, one thing is that you lose the Jewish perspective on the persecution,” he said.
Otto Frank, the sole survivor from the annex, appeared at Jan and Miep Gies’ doorstep after the war and ended up living with them for over seven years. In July 1945, Gies watched as he received the notice that his children were dead.
“He took it in his hands and suddenly he became eerily quiet,” Gies said in an interview for the Anne Frank House. “You cannot explain it, it was a silence that speaks. I looked up. He was white as a sheet. And he handed me the letter.”
Gies read the piece of paper, stood up and opened her desk drawer. “I took all the diaries, with all the separate sheets and everything and handed them over to Mr. Frank,” she said.
She told him, “This is your daughter Anne’s legacy.”
In 2010, Gies died at 100 years old. Every year on Aug. 4 — the day the Franks were arrested — she stayed at home, drew her curtains and did not answer the phone or doorbell.
Powley believes the show’s angle gives a fresh perspective on “your mom’s dusty copy of Anne Frank’s diary.” She approached the role of Gies with a heavy sense of responsibility.
“I feel a deeper connection to this story than I have with other projects,” she said. “This offer came to me on Holocaust Memorial Day and it immediately had that special feeling to it. My grandma, the Jewish matriarch of my family, died during COVID. I feel that she would be proud.”
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Canadian progressive party picks Jewish anti-Zionist politician as its leader
(JTA) — Canada’s main progressive party aims to make a comeback under its new leader Avi Lewis, a Jewish anti-Zionist.
Lewis, a filmmaker and former journalist, was elected to lead the New Democrats on Sunday. He campaigned on principles that have energized the global left, including affordability, the environment and unapologetic anti-Zionism. He repeated his position on Israel in his acceptance speech in Winnipeg.
“When Israel commits a genocide in Gaza, we call it by its name, and we do everything in our power to bring it to an end,” Lewis said in his speech.
Lewis hopes to rebuild a party that suffered its worst losses in history during the 2025 federal election. Center-left voters who were alarmed by President Donald Trump’s threats to Canada flocked to the Liberal Party and elected Mark Carney as prime minister.
Lewis comes from a line of progressive royalty. His grandfather, David Lewis, was one of the founding members of the New Democrats and its leader in the 1970s. His father, Stephen Lewis, led the party in Ontario. He is also the great-grandson of Moishe Lewis, who was an outspoken member of the socialist Jewish Labour Bund in Eastern Europe and immigrated to Canada in 1921.
Lewis is married to Naomi Klein, a prominent author and critic of Israel. Klein was among several writers who declined to participate in PEN America’s annual World Voices festival in 2024, saying the group failed to “stand firmly” with Palestinian writers. She also addressed protesters during a rally outside U.S. Senate Majority Leader Chuck Schumer’s residence in Brooklyn during Passover that year, called “Seder in the Streets to Stop Arming Israel,” and urged Jews against worshipping the “false idol” of Zionism.
Lewis was formerly a reporter for the Canadian Broadcasting Corporation and Al Jazeera. In a debate with other candidates in January, he described himself as an “anti-Zionist Jewish person” seeking to “unlearn and unpack the Zionist myths that most Canadian Jews were brought up with.”
The Centre for Israel and Jewish Affairs, an advocacy arm of the Jewish Federations of Canada, said it acknowledged Lewis’ victory “with a deep sense of sadness.”
“Avi Lewis is himself Jewish, and we respect his family’s history in this party,” the group said a statement. “But Jewish identity is not a shield against accountability. When a leader declares that Zionism is inseparable from ethnic cleansing, he is not engaging in legitimate policy critique. He is telling Jewish Canadians that a core part of their identity is illegitimate.”
On the eve of the New Democratic Party’s leadership convention, CIJA joined dozens of rabbis from across the country in an open letter criticizing the party.
“Too often, the NDP’s response to antisemitism in Canada has been inconsistent, hesitant, or clouded by rhetoric that fails to recognize how hatred manifests in today’s environment,” said the letter.
Perhaps anticipating Lewis’ victory, they added, “Even more troubling is the repeated elevation of fringe or non-representative Jewish voices to deflect, dilute, or dismiss the legitimate concerns of the vast majority of the Canadian Jewish community.”
This article originally appeared on JTA.org.
The post Canadian progressive party picks Jewish anti-Zionist politician as its leader appeared first on The Forward.
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Netanyahu orders Church of the Holy Sepulchre open after Palm Sunday closure flares tensions
(JTA) — Israeli Prime Minister Benjamin Netanyahu has ordered that the top Catholic clergy in Israel be allowed into the Church of the Holy Sepulchre ahead of Easter, in an attempt to calm tensions that flared after police blocked their access.
Police cited wartime restrictions when prohibiting Cardinal Pierbattista Pizzaballa and three other Catholic representatives from visiting the church, located in the Old City of Jerusalem, on Palm Sunday, a holy day for Christians.
Many holy sites in the city, including the Western Wall for Jews and al-Aqsa Mosque for Muslims, have been closed or tightly restricted since the start of the Iran war last month because they lack bomb shelters for the number of people who typically gather there. Shrapnel from Iranian missiles have landed in the Old City multiple times, including near the Church of the Holy Sepulchre.
But the prohibitions on Pizzaballa’s access come at a time when some Christians are expressing concern that Israel is discriminating against them. A statement from the Latin Patriarchate on Sunday accusing Israel of having made a “hasty and fundamentally flawed decision, tainted by improper considerations,” seemed to fuel those sentiments.
“For the first time in centuries, the Heads of the Church were prevented from celebrating the Palm Sunday Mass at the Church of the Holy Sepulchre,” the Latin Patriarchate said. “This incident is a grave precedent and disregards the sensibilities of billions of people around the world who, during this week, look to Jerusalem.”
Christians believe that the church is the site of Jesus’ burial and resurrection, making prayers at the site on Palm Sunday, which kicks off the week leading up to Easter, particularly significant. Pizzaballa was seeking to pray privately at the site, not lead a major service as is typical.
Criticism over the closure resounded across the globe, including among allies of the Israeli government. Italian Prime Minister Giorgia Meloni condemned the closure as “an insult” and U.S. Ambassador to Israel Mike Huckabee called it “difficult to understand or justify” given that wartime rules prohibit only gatherings of 50 or more.
Soon, Israeli authorities were negotiating a special arrangement that would allow Pizzaballa and a handful of other Christian leaders access to the holy sites without opening them widely. Israeli President Isaac Herzog said he called Pizzaballa personally to express his commitment to religious freedom.
“I reiterate the unwavering commitment of the State of Israel to the freedom of worship for people of all faiths and the importance of upholding the status quo at the holy sites in Jerusalem,” Herzog said in a statement.
For his part, Pizzaballa downplayed the incident when speaking to a Catholic news channel. “There were no clashes, and we don’t want to force matters, but rather figure out what to do while respecting the right to prayer,” he said. “There were misunderstandings, we didn’t understand each other, and that’s what happened. It’s never happened before; it’s a shame this happened. This morning’s events are important, but we must consider the broader context. There are people who are much worse off than us who cannot celebrate for very different reasons. Once again, we are celebrating a subdued Easter.”
The police said the closure was justified because in addition to the lack of bomb shelters in the Old City, the area’s narrow and winding streets make it hard for emergency vehicles to reach anyone who might be injured in an attack.
Netanyahu said that while he understood the safety considerations involved in turning Pizzaballa back on Sunday, he had called for changes going forward.
“I have instructed the relevant authorities that Cardinal Pierbattista Pizzaballa, the Latin Patriarch, be granted full and immediate access to the Church of the Holy Sepulchre in Jerusalem,” he said in a statement.
The dustup came as Pope Leo, in his Palm Sunday address in the Vatican, condemned the Iran war and lamented that Christians in the Middle East “are suffering the consequences of a brutal conflict and, in many cases, are unable to observe fully the liturgies of these holy days.”
This article originally appeared on JTA.org.
The post Netanyahu orders Church of the Holy Sepulchre open after Palm Sunday closure flares tensions appeared first on The Forward.
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While sculpting Jesus, this Jewish artist wrestled with his demons
You may not know the name Jimmy Grashow, but it’s likely you’ve seen his work. His psychedelic drawings have been featured in The New York Times, Ms. and Playboy. He illustrated album covers for The Yardbirds and Jethro Tull. His cardboard sculptures of people, animals and buildings have been shown all over the country, including at MoMA, the Library of Congress, and the San Jose Museum of Art. Within the first 30 seconds of Jimmy & the Demons, a documentary about the artist directed by Cindy Meehl, I recognized his cardboard sculptures of a dancing couple; a version lives in the Cameron Art Museum in Wilmington in my home state of North Carolina.
The documentary follows Grashow as he works on his latest commission: an eight-foot tall wooden sculpture of Jesus hoisting a cathedral on his back, while demons, each one completely different from the other, reach out of the flames around his feet. The cathedral’s intricate exterior is matched by an equally elaborate interior: A mural of Eden decorates the cathedral wall and a figure resembling the piece’s commissioner Michael Marocco, a Catholic art collector who has several Grashow pieces in his private sculpture garden, kneels in prayer. If you look closely at the mural, you can see God’s name written in Hebrew on a painted banner. The cathedral’s stained glass windows are illuminated by an electric bulb.
Grashow’s work is painstakingly detailed and took years to complete, as the slightest error in measurement or cut could have ruined the whole thing. While the documentary doesn’t last for years the way the project did, it follows a similarly leisurely pace, spending lots of moments in silence with Grashow in his home workshop in Redding, Connecticut. It’s a close look at the mostly solitary work of an artist, although viewers also get a few moments to meet Grashow’s family, including his daughter who is a rabbi.
Meehl has profiled unconventional figures in her past documentaries, such as Buck, about horse whisperer Dan “Buck” Brannaman, and The Dog Doc, about holistic veterinarian Marty Goldstein. Grashow, who passed away in September 2025, three months after the film premiered at the Tribeca Film Festival, is no exception.
Despite his artistic talent, Grashow said that as a kid he “felt inadequate in every way.” Dyslexic and bad at math, Grashow struggled in his Brooklyn high school. At home, he felt overshadowed by his athletic brother and brilliant older sister. But he found a place to succeed at the Pratt Institute, where he studied woodworking, and received a Fulbright to study in Florence. There he fell in love with the cathedrals that would appear in many of his projects over the years.
Grashow did not view his sculpture of Christ as conflicting with his Jewish faith, noting the relationship between the word “Israel,” which means one who wrestles with God, and the meaning he saw in the piece.
“The world is full of peril and devils,” Grashow said. “And there you are trying to carry your faith and keep your faith alive. It’s a simple idea of trying to move forward in life with chaos and the possibility of chaos everywhere.”
“I’m wrestling all the time,” Grashow said. “It’s a brutal world.”
Grashow told the filmmakers that, when the idea for Marocco’s sculpture came to him, he “knew it was like a hineini moment,” using the term which means “here I am” and is also the name of a prayer traditionally chanted during the High Holidays, implying that one is showing up as their full self, with all of their flaws.
“It was God saying ‘Here’s this’ and it was up to me to say ‘Here I am. I’ll do it,’” Grashow said.
It was not a simple task. In addition to the years spent building the project, there was an emotional toll. Early in the film, Grashow says that the project feels like “the grand finale.” He asks that the filmmakers not share that information with his wife, Guzzy, although she later tells them herself that she feels Grashow’s time is running out.
Later in the film, the Museum Contemporary Art in Westport, Connecticut offers Grashow a retrospective exhibit of his work, with the new piece at the center. Grashow’s musings about death imbue the project with a sense of urgency and the proposed exhibit title is fittingly Man, Mortality: A Retrospective. However, when the museum refuses to fully fund the show, Grashow and Guzzy are left scrambling for a way to showcase his life’s work.
As Grashow wrestles with his own corporality, his art is both an escape from and an expression of his worries.
“When I’m doing demons, I know that it’s a little boy playing,” he said. “And an old man being terribly afraid.”
Jimmy & the Demons opens in New York at the Quad Cinema on April 3, 2026.
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