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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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Who needs a Reichstag fire when you can just pretend Portland’s burning?
Here in Portland, this supposed city of darkness, happy kids splash around in a fountain next to the sparkling Willamette River, senior citizens practice tai chi in a park, bald eagles and ospreys soar past office building windows, chefs and bakers win national awards, world-class jazz musicians draw locals into clubs, and hiking trails course through the largest urban forest in the country, with glacier-draped Mount Hood as a backdrop.
It’s hardly the hellscape depicted by Donald Trump. What the city is, however, is a primary target in Trump’s scheming to militarize American cities — at least progressive ones like Portland, my home for the past 25 years.
Demonstrations have continued outside an ICE facility in Portland since the summer. The protests have been small, overall peaceful, occasionally tense, but often cheery — such as the time when a group of elderly Portlanders sang “This Land Is Your Land.” But Trump is using the protests as an excuse to launch what local officials and residents fear could be a major military intervention in the city, turning Portland, in essence, into a domestic battleground.
Trump is employing a playbook that’s eerily similar to ones that have been used by despots, including Adolf Hitler, who consolidated his control over Germany by deploying Sturmabteilung shock troops to spread fear across the populace.
Trump has effectively weaponized ICE as his own personal police force, and is using it to bait protestors into clashes and create a pretext for exerting military-style control over cities led by Democrats. From the very beginning of Trump’s second term, federal agents’ pursuit of undocumented immigrants has been marked by the spread of fear and terror. Trump says ICE’s heavy-handed tactics are necessary to fulfill his promise that undocumented immigrants “will not be tolerated.” But the scale and spectacle of ICE actions suggest another motive: to manufacture war-like images that justify crackdowns on leftists, whom Trump routinely portrays as domestic terrorists.
So far, no ICE raid has been more chilling than its assault last week on a five-story apartment building in Chicago. In the dead of night, armed federal agents rappelled from Black Hawk helicopters onto the roof. Others stormed the building from the ground, kicking down doors, throwing flash-bang grenades, and zip-tying screaming children and elderly residents. The target of the raid was a Venezuelan gang. But Illinois Gov. JB Pritzker said many of those who were arrested were U.S. citizens with no criminal record — which has been disputed by the Trump administration.
Two weeks earlier, a pastor praying outside a Chicago ICE processing center was struck in the head by a pepper ball fired from a roof and then sprayed with tear gas as he lay on the ground. He has since sued ICE, alleging violations of religious freedom and free speech.
After weeks of threats, Trump has federalized 300 Illinois National Guard troops and ordered hundreds more to deploy from Texas — using protests against immigrant detention as a pretext for putting soldiers on the streets. The move defies the spirit of the 1878 Posse Comitatus Act, which bars the use of federal military forces to enforce civilian law without explicit congressional authorization.
At a press conference, Pritzker voiced angry defiance toward what he called “Trump’s invasion.”
“The state of Illinois is going to use every lever at our disposal to resist this power grab and get (Homeland Security Secretary Kristi) Noem’s thugs the hell out of Chicago,” Pritzker said.
Portland might well be next.
Over the weekend, a federal judge in Oregon, appointed by Trump in 2019, issued two rulings temporarily blocking his attempts to deploy National Guard troops to Portland. In a blistering decision Saturday, U.S. District Judge Karin Immergut wrote that Trump’s claims of a “war zone” were “simply untethered to the facts.” She added: “This is a nation of Constitutional law, not martial law.”
When Trump tried to circumvent her ruling by ordering California National Guard troops into Oregon, Immergut blocked that maneuver too, writing: “The executive cannot invoke emergency powers based on manufactured chaos.”
Trump responded by claiming that “Portland is on fire,” and threatened to invoke the Insurrection Act, which legal experts note would effectively amount to imposing martial law.
Trump’s description of the situation in Portland is grossly exaggerated, and intentionally so. The protests have occurred in a very small area around the ICE detention center. There have been clashes involving pepper spray, but no ongoing battles. The scene is actually more like an episode of the TV show Portlandia. During Kristi Noem’s visit to the facility on Tuesday she was mocked by activists wearing inflatable animal costumes, including a dinosaur, a raccoon and a chicken. An activist in a giant toad costume has become a social media sensation, especially after an ICE agent shot pepper spray into the air vent on the costume’s back side. Another image making the social media rounds shows protestors using donuts dangling from fishing poles to taunt ICE agents — “ICE fishing,” as they call it.
Portland wears its progressivism on its sleeve, which does not always work in the city’s favor. During the 2020 Black Lives Matter protests downtown, city officials faced accusations of being too lenient on leftist agitators. Riots during those protests, coupled with COVID, led to the closure of numerous downtown stores. Leftists who relish confrontation with right-wing counter-protesters have posed another challenge. During one protest in late August 2020, Trump supporters rode their pickup trucks into downtown Portland and picked a fight with leftist demonstrators. That night, a right-wing counter-protester was shot and killed by a self-described anti-fascist activist, who was later tracked down and fatally shot by federal agents in neighboring Washington state. Before fleeing, the shooter said he was defending himself.
Even before Trump, Portland has had a rocky relationship with federal authority. The city was the site of massive protests against President George W. Bush’s 2003 invasion of Iraq. In 2019, Portland became the second U.S. city — after San Francisco — to withdraw its police officers from the FBI’s Joint Terrorism Task Force, citing concerns over civil liberties and lack of transparency. In the 1990s, staffers for the first President Bush dubbed Portland “Little Beirut” in response to raucous anti-war protests that greeted his visits.
During his visit to Quantico Marine Base, Trump told top military commanders, “We should use some of these dangerous cities as training grounds for our military.” He singled out Chicago, Portland, Seattle, and Washington, D.C. For now, Portland’s resistance may resemble a surreal episode of protest theater—complete with inflatable dinosaurs and the viral “anti-fascist” frog. But there will be no cause for chuckling if the city becomes a proving ground for martial law, with federal troops rehearsing the suppression of dissent.
The post Who needs a Reichstag fire when you can just pretend Portland’s burning? appeared first on The Forward.
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Jewish women struggling with early menopause due to cancer treatment find new help

Beverly was 41, had two children and was contemplating a third when her first mammogram revealed a lump. Diagnosed with breast cancer, Beverly, who lives in Portland, Oregon, opted for chemotherapy, immunotherapy and a double mastectomy.
She knew the chemo would affect her fertility. What she didn’t know was that the type of cancer she had would necessitate hormone suppression drugs that would lead to severe menopausal symptoms.
For Beverly, now 46, that meant hot flashes, vaginal atrophy, zero libido, thick curly hair that turned straight, sparse and wispy, and what she describes as “old lady bones.”
“If I’m lucky enough to live to 95, am I just going to crumble into a pile of chalk?” she said.
Beverly, who asked that her last name be withheld for privacy reasons, is not alone in experiencing severe menopausal symptoms following breast cancer or ovarian cancer treatment or prophylactic surgery, which entails breast and/or ovary removal, sometimes along with removal of the uterine and fallopian tubes.
Risk-reducing surgery is often recommended for women who carry a BRCA1 or BRCA2 gene mutation, which significantly increases the risk of breast and ovarian cancer. These mutations are found in Ashkenazi Jews — in both women and men — at rates about 10 times higher than in the general population.
For women who test positive, surgery can reduce the risk of developing ovarian cancer by over 75%. There may also be reduced risk of breast cancer, though research findings are mixed.
While hormones gradually decline as older women approach menopause, younger women who undergo surgery-induced menopause may experience a sudden and dramatic hormonal crash.
“Natural menopause is gradual; surgical or medically induced menopause is intense,” said Elana Silber, CEO of Sharsheret, a Jewish nonprofit organization that provides support, counseling, patient navigation, financial assistance and education in the United States and Israel for those facing breast cancer and ovarian cancer.
“Doctors focus on immediate cancer treatment plans; Sharsheret helps support and educate women about what comes next,” Silber said. “We highlight these critical issues so that women know to raise them with their healthcare providers, and we make sure they don’t face those questions alone.”
As public discussions about menopause have become more common, Sharsheret has fielded a growing number of inquiries from young women seeking information on the subject and ways to connect with peers. Many are navigating an abrupt and frightening transition for which they never prepared, and they sometimes describe it as even more traumatic than their breast surgeries.
“Menopause brought on by breast cancer surgery or treatment doesn’t follow a normal, natural progression,” said Adina Fleischmann, Sharsheret’s chief services officer.
Sharsheret has responded by connecting women with social workers and genetic counselors to help them understand both the medical and emotional impact of treatment-induced menopause.
Through peer-to-peer connections, survivors are matched with others who have gone through the same surgeries and drug regimens. They get real-world perspectives that many women say they don’t receive from their physicians.
The organization also provides survivorship kits, medical webinars, and tailored educational materials on sexual health, bone strength, fertility preservation, and non-hormonal strategies for coping with hot flashes, sleep disruption, and vaginal dryness.
Beyond the physical symptoms, it’s not uncommon for women undergoing early menopause to experience depression, according to Dr. Gila Leiter, an Ob/Gyn affiliated with New York’s Mount Sinai Hospital and a member of Sharsheret’s medical advisory board.
“Knowing what symptoms to expect — and expect pretty suddenly — is very important,” Leiter said.
Liora Tannenbaum, Sharsheret’s Israel regional director, underwent risk reducing surgeries as a result of being a BRCA carrier. She said she was less fearful of the physical recovery from having her ovaries and uterus removed than when she did her double mastectomy, but she was terrified of the emotional and mental recovery.
“As much as I looked for people to talk to for support who had been through this, I found that so many women were suffering in silence,” Tannenbaum said. “The lowered tones and discomfort around the entire conversation caught me by surprise.”
One woman, M., 44, recalled symptoms “hitting like pile of rocks” after surgery five years ago to remove her ovaries, fallopian tubes and uterus. (She asked to use only an initial to preserve her privacy.)
Just 23 when she lost her mother to ovarian cancer, M. was 28 when she learned she carried the BRCA1 mutation. She spent several years considering her options before ultimately choosing to remove her ovaries and uterus.
“It took me a long time,” M. said. “The biggest concern is you want to have kids, and when you have these surgeries you can’t have kids.”
Most doctors, including M.’s, recommend such surgery by age 40. By 39, after two children, a third miscarriage, and ongoing exams, a suspicious finding — which proved to be nothing — made her doctor insist on risk-reducing surgery if she wanted to live to see her kids’ bar mitzvahs.
“I was already considering surgery, and that scare pushed me to do it,” M. said. “I’m glad I did.’”
But the sudden loss of hormones – not just estrogen, but also progesterone and testosterone – left her with vaginal dryness, loss of muscle mass, dry skin, diminished libido and a return of asthma. M., now a nurse who volunteers for Sharsheret’s peer network, noted that she wasn’t told during her medical appointments what to expect.
“The message was: ‘Don’t worry about it. We’ll give you a low-dose hormonal patch and everything will be fine,’” she recalled.
Menopausal symptoms aren’t severe for all women, and sometime they’re only temporary.
Farrah Zweig was 31 when she was diagnosed with hormone-positive, HER2-negative breast cancer. She had a lumpectomy, radiation and chemotherapy. She also took Lupron, a hormone suppression drug, which put her in menopause.
“My medical team did not discuss menopause with me,” said Zweig, now 42. “My only source of information was from people who had gone through it due to age, not as a result of a medical treatment like mine.”
She experienced the hot flashes and difficulty sleeping, which she expected, and also had a tough time losing weight she’d gained during chemo.
Leiter said physicians often don’t inform patients about treatments that might help their symptoms — even those that don’t involve hormones. She noted that antidepressants can reduce hot flashes and mitigate some of the irritability or emotional fluctuations. Meditation, cognitive behavioral therapy for insomnia, and laser treatments for vaginal dryness also can be effective.
“Knowing what you may feel and how you’re going to handle it, what medications are available, what support systems you’re going to have and maybe lining up your therapist or acupuncturist in advance makes all the difference,” Leiter said.
To speak with a social worker or someone at Sharsheret, visit www.sharsheret.org or call 866.474.2774.
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László Krasznahorkai, grim Hungarian author with hidden Jewish roots, wins literature Nobel

This year’s Nobel Prize for literature was awarded to a Hungarian writer whose work offers bleak visions of existence, and whose father hid his Jewish ancestry from him for much of his childhood.
László Krasznahorkai, the 71-year-old novelist and screenwriter, achieved international acclaim for formally daring books like “Satantango” and “The Melancholy of Resistance,” as well as a series of collaborations with the filmmaker Bela Tarr. He is often compared to master Russian novelists like Dostoyevsky and Gogol.
The Swedish Nobel jury called him “a great epic writer in the Central European tradition that extends through Kafka to Thomas Bernhard, and is characterized by absurdism and grotesque excess.” Another prominent champion of Krasznahorkai’s: the Jewish culture critic Susan Sontag, who praised the infamous 7.5-hour film adaptation of “Satantango” and deemed him a “master of the apocalypse.”
Krasznahorkai was born in 1954 in the small town of Gyula, near the Romanian border. As a child, he has said in interviews, he had no idea his father hailed from a Hungarian Jewish family. In 1931, as antisemitism was on the rise in Hungary but before the passage of formal anti-Jewish laws in the country, the author’s grandfather had changed their family name from Korin to the more native Hungarian-sounding Krasznahorkai.
“Our original name was Korin, a Jewish name. With this name, he would never have survived,” Krasznahorkai told a Greek interviewer in 2018. “My grandfather was very wise.”
When the author turned 11, he learned about his Jewish heritage for the first time. “In the socialist era, it was forbidden to mention it,” Krasznahorkai has said about his Jewish ancestry. “Korin” would later serve as the name of the protagonist, a suicidal Hungarian archivist, in Krasznahorkai’s acclaimed 1999 novel “War and War.”
Many of the author’s books, written in challenging postmodern style, are concerned with the effects of political turmoil and national upheaval on everyday citizens, from provincial farm workers to intellectuals. Some of his novels, including “Hersch 07769” and “Baron Wenckheim’s Homecoming,” have plots that deal directly with neo-Nazis.
In that 2018 interview, the author, an outspoken opponent of Hungary’s authoritarian prime minister Viktor Orban, also addressed his relationship to Judaism in characteristically pessimistic fashion.
“I am half Jewish,” he said, “but if things carry on in Hungary as they seem likely to do, I’ll soon be entirely Jewish.”
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