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Israeli drama film ‘Concerned Citizen’ tackles gentrification and race issues in Tel Aviv
(JTA) — The Israeli satirical drama film “Concerned Citizen” opens with the sacrosanct rituals of a bourgeois Tel Aviv life: a robot vacuum slides gracefully across the floor; lush house plants are watered; vegetables are blended into green juice. The score from the Bellini opera “Norma” plays in the background.
Then a car alarm rudely interrupts the utopia.
It only gets worse from here for Ben and Raz, a progressive Israeli gay couple (played by actors Shlomi Bertonov and Ariel Wolf, who are also a couple in real life) living in a pristine renovated apartment in a gentrifying neighborhood in south Tel Aviv. When Ben, a landscape architect, plants a tree on their block, his seemingly innocent desire to improve the neighborhood quickly goes awry, and a series of events forces him to face his own repressed prejudices and hypocrisy.
With the tension of a thriller, “Concerned Citizen,” the second feature film by Israeli writer-director Idan Haguel, tackles the universal themes of privilege and multicultural tension in gentrifying cities, using the hyper-specific lens of Neve Sha’anan — the south Tel Aviv neighborhood that’s home to many of the country’s foreign workers and asylum seekers, as well as the city’s notoriously rundown (but culturally vibrant) Central Bus Station.
After making its world premiere last year at the famed Berlin International Film Festival, the movie debuts in select U.S. theaters on Friday and will also be available to rent on Amazon and Apple TV+.
Ben and Raz’s apartment, a hot commodity in one of the world’s most expensive cities, is the axis around which much of the drama revolves. In one scene, a French-Jewish woman looks into buying the apartment sight unseen. Their neighbors include both the extremely vulnerable and the privileged: immigrants from Eritrea in one apartment, and a writer plotting his move to Berlin with his foreign wife in another.
Idan Haguel spoke with the Jewish Telegraphic Agency about the film and his personal connections to it. After losing his suitcase, Haguel chatted on his phone from a cafe in Berlin before heading to New York for the film’s American release.
This conversation has been edited and condensed.
JTA: Tell me a little about yourself and how you became a filmmaker.
IH: I was born in the suburban city Rishon LeTsiyon and I always didn’t know what to do with my life. After the army I decided to go to film school. I wanted to be a scriptwriter, to do comedies. I discovered filmmaking, directing, and I gradually fell in love with that part. Then after school, I became a journalist because I couldn’t make a film — it was very difficult for me to get into that world. When my journalism career ended abruptly by the closing of the magazine, I decided that it’s now or never. I made my first feature film, that was a film called “Inertia.” That film is based on childhood memories of my grandparents. My grandparents were immigrants from Lebanon, Romania and Thessaloniki in Greece.
“Concerned Citizen” is partially about immigration. Why was it important to you to focus on the immigrant experience?
I was drawn into the irony, and, some may say, hypocrisy of living in a country that historically was formed by the narrative of [the Jew] being the immigrant of the world, not accepted into other countries, that in some ways still holding that grudge against countries that weren’t receptive to the immigrant Jew and pushed immigrants out. Of course, there is the horror story of Germany and the Holocaust and that’s the extreme end of mistreating “the other.” So living in a country formed by immigrants, [contrasted with] the way we behave to immigrants who are not part of the ethos of the Jewish immigrant narrative — I was drawn into that irony, although it wasn’t an intellectual process. It was more based on the experience of living in that neighborhood in south Tel Aviv, being marinated in the dilemmas and the daily complexity of living in Neve Sha’anan as a bourgeois, middle class person. After a few years I wanted to comment on that. I wanted to be brutally honest with myself and about myself. So my daily life and the life of my neighbors and friends became the material with which I wrote this fictional movie.
And you shot the film in your old apartment!
That was the mindfuck of the whole production, because I made the story close to me but I left a distance. I used my experience but I created these characters who are very close but very different. I shot the therapy scenes in my therapist’s clinic. I shot the building scenes in my building on my street. Everything became very, very close and it was really an “Alice in Wonderland” experience. Looking into a mirror and everything is morphing and making you look different and look differently at yourself and your life.
Can you talk about the south Tel Aviv neighborhood where the film is set, Neve Sha’anan?
It’s the outskirts of the center of Tel Aviv. It was always an immigrant neighborhood. But it changed over the years, it became working immigrants. In the 90s, there were the Romanian immigrants, and then it was Chinese immigrants who came to work in Israel. And over the last 15 years it has become immigrants from Africa, combined with older people who have lived there years and new people who are the more gentrifiers of the neighborhood, artists and gay people and those who are more economically stable. So now the neighborhood is comprised of sex workers, immigrants, junkies, dealers, and gay people. It’s a mix, but the prices have gone low, and people who didn’t have enough money to buy property in the city center started buying there. So the neighborhood has this tension of people who want to live a more bourgeois life, but they’re in the middle of the neighborhood with people who don’t have rights, who are immigrants, who don’t know if tomorrow the government will kick them out. People from all over the world. But it’s become a haven for investors and the neighborhood is in the middle of being gentrified and changed.
So it’s a very interesting setting to live in and to make a film in. It’s very dense. It’s one of the less homogenic and more diverse areas in Israel. Israel prides itself on the diversity of Jewish people coming from Arab countries, coming from Europe. But they’re all Jewish and they share a common mentality and they’re all citizens of Israel. Neve Sha’anan is more diverse – it’s people from India, China, Eritrea, Sudan, the Ivory Coast. I feel it’s a missed opportunity by Israeli society that instead of accepting these people legally and into our society, they are trying to hold back and fight against it. It’s also very ironic that Israel is becoming a state that aspires to have a government like this. It’s mind-boggling. It’s like, we learned nothing from history and our own history. It’s like people don’t want to connect dots. They just want to see the cruel history that they experienced as the Jewish people and feel like it was something personal that happened to them, and like they cannot be the victimizers at all.
You’ve said that this film is very much about the idea of who’s the victim and who’s the victimizer.
When you raise yourself and your children on the narrative of being a victim and perpetuating historical trauma it’s very hard to notice other people’s traumas, and the fact that you are creating traumas for other people. Because you’re constantly in trauma and you’re always dealing with your own trauma and you’re always the victim and you’re the center of the world, but you are not the center of the world. I think it should change. But no one cares what I think! Sometimes I don’t care about what I think.
What was the casting process like?
The casting process was through meeting people and going to plays. [I turned to] the Holot theater company to cast the Eritrean community in Israel. It was cast mainly by meeting actors from the group, having conversations with them. Basically they wanted to participate in the film and I was very lucky about that. They’re a group that used to be based in Holot outside of a temporary incarceration open prison for immigrants who don’t have permits to stay in Israel. They put them in an open prison in the desert close to the Negev.
There’s an interesting scene between the French-Jewish woman (played by Flora Bloch) who is trying to move to Israel and Ben that I thought was a very revealing moment about the ways that Jewishness is expressed when Jews are a minority in the country versus when they are the majority in the country. The French woman is concerned by France’s antisemitism and wants to move to Israel, while Ben is tortured by the complexities of living as a privileged Jewish Israeli person. Can you say something about what that scene meant to you?
One of the things I’m proud about this film is that I feel like it deals with subjects which are not easy subjects to address. But I think we managed to create a balance between comedy and drama that I’m very proud of. I think it allows the film to be self explanatory. It can reveal its deep themes and make you think, in an entertaining way. Again, it’s about irony. It’s about hypocrisy. It’s about human nature. Knowing how to experience your own point of view, and being unable to be in another person’s point of view. It’s human nature, and it’s ever-fascinating to me.
And it also happens to me a lot of times with the fact that I can be in my own shoes and identify my own narrative so much but it’s hard for me to even experience a person who is experiencing the same thing as me but in a different language in different settings. But the resemblance is there so it’s very ironic. And I think that scene is about that.
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Federal Officials Dig in on Minneapolis Shooting Narrative Despite Video Evidence
A person reacts at a makeshift memorial at the site where a man identified as Alex Pretti was fatally shot by federal immigration agents trying to detain him, in Minneapolis, Minnesota, U.S., January 25, 2026. REUTERS/Tim Evans
Senior Trump administration officials on Sunday defended the fatal shooting of a US citizen by immigration agents in Minneapolis even as video evidence contradicted their version of events and tensions grew between local law enforcement and federal officers.
As residents visited a makeshift shrine of flowers and candles in frigid temperatures and snow to mark Saturday’s fatal shooting of Alex Pretti — the second shooting death by federal officers in Minneapolis this month — the Trump administration argued that Pretti assaulted officers, compelling them to fire in self-defense.
Gregory Bovino, Border Patrol commander-at-large speaking on CNN’s “State of the Union,” could not offer evidence that Pretti was trying to impede a law enforcement operation, but focused on the fact that the ICU nurse was carrying a gun, which he had a license to carry.
“The victims are border patrol agents,” Bovino said. “Law enforcement doesn’t assault anyone.”
Bovino and Homeland Security Secretary Kristi Noem accused Pretti of assaulting the agents, rioting and obstructing them.
“We do know that he came to that scene and impeded a law enforcement operation, which is against federal law,” Noem told Fox News’ “Sunday Briefing” program. “It’s a felony. When he did that, interacting with those agents, when they tried to get him to disengage, he became aggressive and resisted them.”
That official line, echoed by other Trump officials on Sunday, triggered outrage from local law enforcement, many in Minneapolis and Democrats on Capitol Hill, because of bystander videos that appear to show a different version of events.
HOLDING A PHONE, NOT A GUN
Videos from the scene verified and reviewed by Reuters showed Pretti, 37, holding a phone in his hand, not a gun, as he tries to help other protesters who have been pushed to the ground by agents.
As the videos begin, Pretti can be seen filming as a federal agent pushes away one woman and shoves another woman to the ground. Pretti moves between the agent and the women, then raises his left arm to shield himself as the agent pepper sprays him.
Several agents then take hold of Pretti — who struggles with them — and force him onto his hands and knees. As the agents pin down Pretti, someone shouts what sounds like a warning about the presence of a gun.
Video footage then appears to show one of the agents removing a gun from Pretti and stepping away from the group with it.
Moments later, an officer with a handgun pointed at Pretti’s back and fired four shots at him in quick succession. Several more shots can then be heard as another agent appears to fire at Pretti.
Darius Reeves, the former head of ICE’s field office in Baltimore, told Reuters that federal agents’ apparent lack of communication is troubling. “It’s clear no one is communicating to me, based on my observation of how that team responded,” Reeves said.
One of the officers appeared to have taken possession of Pretti’s weapon before he was killed, Reeves said. “The proof to me is how everyone scatters,” he said. “They’re looking around, trying to figure out where the shots came from.”
‘VIDEOS SPEAK FOR THEMSELVES’
Brian O’Hara, the Minneapolis police chief, told CBS’ “Face the Nation” that “the videos speak for themselves,” adding the Trump administration version of events was “deeply disturbing.” He said he had seen no evidence that Pretti brandished a gun.
Tensions in the city were already running high after a federal agent fatally shot US citizen Renee Good on Jan 7. Trump officials claim she was trying to ram the agent with her car, but other observers have argued that bystander video suggests she was trying to steer away from the officer who shot her.
Federal authorities have refused to allow local officials to participate in their investigation of the incident.
US Senator Amy Klobuchar, a Democrat from Minnesota, told ABC News’ “This Week” that Trump’s surge of federal agents into Minneapolis was “completely out of control and out of balance,” and that they should leave Minnesota. She described the shooting of Pretti as “simply horrific.”
The deaths of Good and Pretti have sparked large protests in the Democrat-run city, although on Sunday morning the area where Pretti was shot was calm.
A woman wearing nursing scrubs ventured out in Sunday’s frigid temperatures to pay homage to Pretti, who she said worked with her. When asked what brought her out, the woman began to sob.
“He was caring and he was kind. None of this makes any sense,” said the woman, who asked not to be identified by name, saying she feared retribution from the federal government.
In addition to large protests in Minneapolis since Good’s death, there have been rallies in other cities led by Democratic politicians, including Los Angeles and Washington, D.C., since Trump began sending immigration agents and National Guard troops to those communities last year.
Trump has defended the operations as necessary to reduce crime and enforce immigration laws.
Pretti’s shooting triggered legal filings on Saturday night from state and local officials, as well as others.
A US district judge issued a temporary restraining order prohibiting federal officials from destroying or altering evidence related to the shooting in response to a lawsuit filed by Minnesota’s attorney general, the Hennepin County Attorney’s Office and the Bureau of Criminal Apprehension. A full hearing is set for Monday.
Lawyers representing protesters in Minnesota also asked an appeals court to reinstate a lower court’s order that prevented violent retaliation by federal agents against protesters, citing Pretti’s death and the likelihood of a surge of people taking to the streets.
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Iran Health Officials Say Death Toll Far Exceeds Official Figures During Protests
Cars burn in a street during a protest over the collapse of the currency’s value, in Tehran, Iran, Jan. 8, 2026. Photo: Stringer/WANA (West Asia News Agency) via REUTERS
i24 News – Senior sources inside Iran’s Ministry of Health have told the American publication TIME that an internal government tally shows as many as 30,000 people may have been killed in Iran on January 8 and 9 alone, far exceeding the official death toll announced by the authorities. According to the report, the figure is based on accounts from two unnamed senior Health Ministry officials and could not be independently verified.
The officials said the scale of the killings by Iranian security services during those two days overwhelmed state systems. Stocks of body bags were depleted, the officials said, and eighteen-wheel semi-trailers were used in place of ambulances to transport bodies.
According to the report, the internal government count has not been previously revealed and far exceeds the figure of 3,117 deaths announced on January 21 by Iranian authorities and state media aligned with Supreme Leader Ali Khamenei. TIME noted that Iran’s ministries, including the Health Ministry, formally report to the country’s elected president.
The reported internal figure also surpasses counts being compiled by independent activists documenting fatalities by name. As of Saturday, the US-based Human Rights Activists News Agency (HRANA) said it had confirmed 5,459 deaths and was investigating an additional 17,031 cases.
The two Health Ministry officials described the internal tally as reflecting only a portion of the broader unrest, highlighting January 8 and 9 as particularly deadly. The report mentioned the deaths cited occurred “in the streets of Iran,” underscoring the intensity of those two days. Iranian authorities have not publicly commented on the internal figures cited by TIME.
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UN Rights Body Censures Iran’s ‘Brutal Repression’ of Protests
Members of the UN Security Council meet on Iran at the request of the United States at U.N. headquarters in New York City, US, January 15, 2026. Photo: REUTERS/Eduardo Munoz
The U.N. rights body condemned Iran on Friday for rights abuses and mandated an investigation into a recent crackdown on anti-government protests that killed thousands of people.
“I call on the Iranian authorities to reconsider, to pull back, and to end their brutal repression,” High Commissioner Volker Turk told an emergency session of the U.N. Human Rights Council in Geneva, voicing concerns for detainees.
The council passed a motion extending a previous inquiry set up in 2022 so U.N. investigators could also document the latest unrest “for potential future legal proceedings.”
Rights groups say bystanders were among those killed during the biggest crackdown since Shi’ite Muslim clerics took power in the 1979 revolution. Tehran has blamed “terrorists and rioters” backed by exiled opponents and foreign foes the US and Israel.
Iran’s mission decried the rights council’s “politicized” resolution and rejected external interference, saying in a statement it had its own independent and robust accountability mechanisms to investigate “the root causes of recent events.”
Twenty-five states including France, Mexico and South Korea voted in favor, while seven including China and India voted against and 14 abstained.
“This is the worst mass murder in the contemporary history of Iran,” Payam Akhavan, a former U.N. prosecutor of Iranian-Canadian nationality, told the meeting. He called for a “Nuremberg moment”, referring to the international criminal trials of Nazi leaders following World War Two.
Iran’s ambassador to the U.N. in Geneva, Ali Bahreini, told the Council its emergency session was invalid and gave Tehran’s tally of some 3,000 people killed in the unrest.
One Iranian official, however, has told Reuters that at least 5,000 people, including 500 members of the security forces, had been killed.
The U.S.-based HRANA rights group said it has so far verified 4,519 unrest-linked deaths and had 9,049 additional deaths under review.
China, Pakistan, Cuba and Ethiopia also questioned the utility of the rights session, with Beijing’s ambassador Jia Guide calling the unrest in Iran “a matter of internal affairs”.
It was unclear who would cover the costs of the extended U.N. inquiry amid a funding crisis that has stalled other probes.