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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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Jewish artists face a relentless culture war over Israel. Some are building a way around it.
The pop star P!nk went into Rosh Hashanah explaining herself.
After sharing a post calling for rapper Macklemore to be dropped from Ed Sheeran’s tour over his pro-Palestinian performances, the Jewish singer faced a backlash of her own. On Friday, she clarified that she supported Palestinian humanity, opposed silencing artists and wanted room to express Jewish fear without being accused of endorsing Israel’s war.
Macklemore, meanwhile, said his criticism of Israel was not directed at Jews. Their exchange captured how quickly an argument about a performance can become a fight over identity — and who gets to define someone else’s.
Nearly three years after the Oct. 7 Hamas attacks, those fights are becoming part of the ordinary business of culture: promoting a movie, booking a concert, selling a manuscript. And some Jewish artists and executives are responding by building new places to take their work.
Consider Gal Gadot. While promoting her new Prime Video thriller, The Runner, the Israeli actress and former IDF soldier appeared on Jimmy Kimmel Live! last week, where she and Kimmel blew shofars for Rosh Hashanah. “Why platform her?” read a typical comment under the video on social media. Even sharing an episode became a point of contention: A member of MUNA, the musical guest, subsequently said the band’s performance had been prerecorded and that it hadn’t known who else would appear, adding a message supporting Palestinian freedom.
Artists critical of Israel face their own confrontations. Last month, Paramount accused Mark Ruffalo of invoking antisemitic tropes after he attacked the Ellison family’s corporate interests and Oracle’s work with the Israeli military. Ruffalo rejected the accusation, saying he was criticizing executives and government policy. The disputes involve different conduct and different stakes, but they keep returning to the same contested boundary between political criticism and prejudice.
In publishing, the consequences can be harder to see. Jewish and Israeli authors told The Wall Street Journal that agents had dropped them, editors had sought to remove Jewish or Israeli elements from manuscripts, and overseas publishers had become unwilling to buy their work. Some agents explicitly reject submissions from Zionists.
The picture is uneven: Jewish writers across the political spectrum continue to produce bestsellers, and a rejected manuscript alone cannot establish discrimination. But the accounts have helped spur new businesses.
A wave of new publishers has emerged to give Jewish and Israeli writers a home after agents and editors say mainstream houses have quietly frozen them out since Oct. 7: Neil Blair, best known as J.K. Rowling’s literary agent, launched High Line Publishing Studio last week to publish authors he says have been shut out elsewhere; Canary Publishing opened this month with the same mission; and Meg Keene Books, a new fiction imprint, will publish the American edition of Howard Jacobson’s Howl, which struggled to find a U.S. publisher despite its Booker Prize-winning author.
A similar response is taking shape in Hollywood. Former NBC co-chairman Ben Silverman is among the backers of SHOOQ, a new platform connecting Jewish filmmakers with investors and philanthropists. Its founders say talented storytellers need help finding the funding to get their projects made.
These ventures offer something practical to people exhausted by defending their right to participate: a publisher, a financial introduction, a way to keep working. They also raise a question that will outlast the latest celebrity argument: Can new Jewish cultural institutions help artists reach a wider public, or will an increasingly divided industry leave them speaking mainly to their own?
This essay first appeared in our Forwarding the News morning newsletter. Subscribe here.
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‘We return changed’: Michigan synagogue reopens for Rosh Hashanah six months after a gunman forced them out
Six months after he was injured protecting his synagogue, Danny Phillips helped carry a Torah back into its sanctuary. The security director was still recovering. So was the congregation.
On Friday evening, the Jews of Temple Israel in West Bloomfield, Michigan, returned to celebrate Rosh Hashanah in the sanctuary they had been forced to leave after a gunman attacked their synagogue in March. The Torah scrolls came home to their ark. Familiar prayers filled the room again. And the High Holidays’ ancient invitation to return took on a meaning no one there could have anticipated a year earlier.
“This room holds more than our services; it holds our memories,” Cantor Neil Michaels said in his welcome, recalling the weddings, coming-of-age ceremonies and farewells that had taken place there.
Throughout the service, clergy and congregational leaders spoke openly about what it meant to enter a sacred space where their sense of safety had been shattered. They described gratitude alongside grief, and the effort of caring for others while still struggling themselves. Returning to the building was one step toward learning to feel at home again.
The congregation’s co-presidents, Debra Gordon and Jodi Neff, gave that work a plainspoken expression: “How do you lead others when you are trying to steady yourself?” Gordon asked.
The answer, in the stories shared from the bimah, was that others helped carry the weight.
The prayer books came from other congregations. Temple Israel’s machzors had been destroyed in the attack, and the edition it used was out of print. Synagogues around the country sent replacements. Rabbi Harold Loss told worshippers that the book he picked up bore another congregation’s initials — a small reminder, held in his hands, of the community that had sustained them.
The children had already made their own return. Earlier that week, students came back to the early childhood center and received teddy bears marking the occasion with the Shehecheyanu, the blessing of gratitude for reaching a significant moment. An educator recalled a parent saying that, after six months in which nothing had felt normal, the first day back finally did.
Their neighbors had helped make the journey possible. On the day of the attack, the Chaldean Christian community’s Shenandoah Country Club across the street sheltered children and teachers. The following evening, it hosted the congregation for Shabbat. At the holiday service, Temple Israel’s leaders again thanked those neighbors, along with the staff, first responders and restoration workers who helped sustain and rebuild their community.
Coming home still required protection. The March 12 attacker drove a truck into the synagogue and exchanged gunfire with security personnel while preschoolers were inside. The reopening included additional security measures. Temple Israel’s Rabbi Josh Bennett has also spoken about the emotional and financial difficulty of making a synagogue secure while preserving its welcome — a challenge facing Jewish congregations far beyond Michigan.
Near the end of their remarks, the co-presidents described teshuvah, the season’s work of return, as something that allowed room for everything the congregation had endured.
“We return changed,” Neff said, “but still rooted.”
This essay first appeared in our Forwarding the News morning newsletter. Subscribe here.
The post ‘We return changed’: Michigan synagogue reopens for Rosh Hashanah six months after a gunman forced them out appeared first on The Forward.
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J Street goes on the offensive against AIPAC-backed candidates
(JTA) — J Street, the liberal Jewish Middle East advocacy group, announced that it will spend $3 million to defeat a handful of Republican candidates backed by AIPAC, joining the plethora of progressive groups targeting the American Israel Public Affairs Committee this election year.
Such an attack campaign is an unusual initiative for J Street, which typically endorses candidates but does not target opponents on the basis of an AIPAC endorsement. Until now, according to J Street President Jeremy Ben-Ami, the likelier scenario for his organization was finding its endorsed candidates on the defensive against AIPAC’s spending.
“It’s a new era for us,” Ben-Ami said in an interview. In 2022, J Street targeted an AIPAC backed candidate — but only after AIPAC barraged the J Street endorsed candidate with negative spending.
In a statement, J Street said that this will be the group’s largest super PAC investment in its history, referring to political action committees that can raise unlimited funds but are forbidden from coordinating with campaigns.
The $3 million will be spent on ads targeting Republican Rep. Mike Collins, who is running for U.S. Senate in Georgia against Democratic Sen. Jon Ossoff, who is Jewish, and a handful of incumbents: Ohio Rep. Max Miller, who is running for reelection amid allegations of domestic abuse, which he denies; Wisconsin Rep. Derrick Van Orden; Pennsylvania Rep. Ryan Mackenzie; and Iowa Rep. Mariannette Miller-Meeks.
Ben-Ami said J Street targeted those particular candidates in part because they each face competitive races as the Democrats look to take control of the House and Senate and they have ideological distance from J Street. Many of them were also connected to the movement to deny and overturn the 2020 election results, Ben-Ami said.
J Street’s campaign comes as AIPAC’s brand has become increasingly toxic among voters, and as a growing number of Democratic politicians cross its red line of supporting conditions on U.S. military aid to Israel. J Street’s position, meanwhile, has recently drifted toward supporting a phasing-out of military aid to Israel in 2028.
AIPAC blasted the campaign in a post on X. “Is this from J Street or Justice Democrats?” AIPAC wrote, referring to the progressive organization that has increasingly aligned with pro-Palestinian advocacy.
“A dark money super PAC spending millions to defeat pro-Israel candidates and lie about AIPAC,” the group wrote. “Not a word about helping elect pro-Israel candidates further exposes the difference between J Street and actual pro-Israel organizations.”
AIPAC has been a heavy spender since it launched its super PAC, United Democracy Project, ahead of the 2022 midterms, and is the top outside spender in this election cycle, according to Open Secrets. A number of anti-AIPAC, pro-Palestinian groups have emerged over the past year to counter the pro-Israel lobbying group’s spending.
Unlike those groups, J Street and AIPAC have some overlap in which candidates they back: Both groups endorsed moderate, pro-Israel Democrats such as Reps. Hakeem Jeffries and Dan Goldman. J Street’s super PAC has also previously targeted individual candidates for their AIPAC endorsement, such as Rep. Haley Stevens in 2022, citing AIPAC’s donations from right-wing megadonors.
An AIPAC spokesperson wrote that it is “disappointing, but not surprising, that J Street continues to amplify lies about our community.”
“AIPAC members are focused on helping elect Democrats and Republicans who will strengthen the U.S.-Israel partnership, while J Street is focused on turning support for the Jewish state into a partisan political football,” said AIPAC’s spokesperson.
Ben-Ami said this year’s campaign is not about “the relationship between us and AIPAC,” but is rather about emboldening candidates who may otherwise worry that they will be up against AIPAC’s war chest.
“We are very conscious that there are many candidates who are afraid of what AIPAC might be able to do politically, and therefore adopt positions and say things about policy because they are afraid, and their fear and intimidation is holding them back,” Ben-Ami said.
Now, he said, J Street is putting “the shoe on the other foot.”
“If you are going to oppose American democracy and provide carte blanche to this Israeli government, then you need to be afraid,” he said.
This article originally appeared on JTA.org.
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