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‘Jewish life goes on’: Djerba Jews and their supporters show resilience after deadly attack
(JTA) — The day after a gunman killed four people outside an ancient place of Jewish worship on the Tunisian island of Djerba, men gathered in the same synagogue not to mourn, but to celebrate.
They were there to witness the blessing of a new life: a brit milah, or ritual circumcision. Not long after, a recording of the ceremony, complete with the men chanting in Hebrew as they surrounded the eight-day-old baby, made its way to the phone of Isaac Choua, a Sephardic rabbi living in New York.
For Choua, watching the ceremony was a relief from the horrors that had emerged the day before, when a rogue security official at the Tunisian synagogue killed two Jewish cousins, Aviel Haddad, 30, and Benjamin Haddad, 43, as well as two security guards before being gunned down.
“Something beautiful happened,” said Choua, the Middle East and North Africa communities liaison for the World Jewish Congress, in an interview. “They had a brit milah in Djerba, even with all the chaos. Jewish life goes on.”
Tuesday’s deadly shooting came during the Hiloula, an annual pilgrimage and celebration of Jewish sages held on or around Lag b’Omer, which takes place a little more than a month after the beginning of Passover. The annual festivity attracts thousands of Jews from around the world, many of Tunisian descent. It is held at the El Ghriba synagogue — a 19th-century building constructed on a site believed to have been a Jewish house of worship for as long as 2,500 years.
The pilgrimage has grown substantially in recent years, after trepidation following an attack on the synagogue by Al-Qaeda in 2002 that killed 20 people, and a suspension of the pilgrimage in 2011 amid security concerns in the wake of the Arab Spring, which began in Tunisia.
The Tunisian government has invested in the pilgrimage, billing it as a symbol of the country’s tolerance, and has provided intense security. Last year, Tunisia was one of six African countries that signed the “Call of Rabat,” an initiative of the American Sephardi Federation that sought a commitment to preserving Jewish heritage on the continent.
Jason Guberman, the executive director of the American Sephardi Federation, said the numbers that the Hiloula attracts today have not yet reached the 10,000 or so who attended before the 2002 attack. The Arab Spring and COVID-19 pandemic, he said, “have also deterred pilgrims in the past decade.” He estimated that fewer than 5,000 people attend annually now.
Additionally, Tunisia’s authoritarian president Kais Saied remains unfriendly to Israel and has rebuffed efforts by successive American administrations to join the Abraham Accords, the normalization agreements between Israel and several Arab countries.
Djerba, nonetheless, remains an oasis of coexistence, said Yaniv Salama, the CEO of the Salamanca Foundation, which seeks to reinvigorate Jewish communities in Muslim lands.
”You have to understand something about Djerba,” Salama said. “The community there has very, very deep ties with the local municipalities. Everything is done in conjunction — there are joint [security] watches” between the Jewish and larger communities, “and joint communication between the Jewish community leaders and the local police.”
Jason Isaacson, the American Jewish Committee’s chief policy and political affairs officer, who has frequently visited Djerba, said it was significant that two Tunisian security officials died protecting the Jewish community.
“It’s obviously now going to be a source of shame for the country that this happened, within its own military forces, but this happens within military forces” everywhere, he said. “The fact that the country deploys a huge protective cordon around the synagogue and around the festivities and around the worshipers who come, to assure that it all goes off smoothly and proper in a celebratory spirit, is significant.”
Aaron Zelin, a senior fellow at the Washington Institute for Near East Policy think tank whose expertise is Islamist extremism in Tunisia, said the attack appeared to be an outlier, unlike the carefully planned 2002 attack.
“It wasn’t really a sophisticated attack,” Zelin said. “So it’s plausible it could have just been one person that just decided to do something on their own accord, and there wasn’t some broader plot or planning in the same way.”
Choua said the Tunisian Jewish Diaspora would not be deterred. “Jewish Tunisians are still going to either visit family [or] visit this pilgrimage site,” he said. “Jews are resilient.”
Djerba has the attention of the world, at least for the moment. The day before the attack Deborah Lipstadt, the U.S. envoy monitoring antisemitism, alongside U.S. ambassador to Tunisia Joey Hood, joined Tunisian officials in a ceremony launching the Hiloula.
“I am sickened and heartbroken by the lethal, antisemitic attack targeting the Ghriba synagogue in Djerba during the Lag B’Omer celebrations, with thousands of Jewish pilgrims in attendance,” Lipstadt said on Twitter.
That may be the silver lining, the World Jewish Congress’s Choua said: The predominantly Ashkenazi Jewish Diaspora tends to forget the communities that persist outside the Western world.
“The Jewish world is noticing that there’s still Jews in the Middle East and North Africa,” he said. “This might even spark more tourism in the country itself.”
Salama said he did not expect the community of about 1,400 people, which includes a number of institutes of religious learning, to be broken following the attack.
“They’re all they’ll do their grieving and they’ll continue, they’ll push forward,” he said. “They really have got a stiff upper lip.”
Robert Ejnes, the executive director of CRIF, the umbrella body for French Jewry, said the French Jewish community is close to the Tunisian Jewish community because France colonized the country beginning in the 1800s, and because the community speaks French. He said that the Hiloula attracts French Jews of all ethnic origins.
“It’s really affecting the whole of the community of France because on the Hiloula, there are a lot of people going [from] the French Jewish community of all origins,” he said.
Ejnes found it notable that even after the attack, French Jews who attended the Hiloula posted photos of the festivities on social media. He said he expected the same number of people to attend next year’s Hiloula.
“People will be resilient,” he said. “They posted pictures of them[selves] at the Ghriba, saying, ‘We’ll be back.’”
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At Berlin screening, former Israeli hostages see film about their captivity rewritten after redemption
(JTA) — BERLIN — They stood outside Berlin’s Babylon theater, bundled against the cold, laughing and dragging on cigarettes: the Cunio twins David and Eitan, and their younger brother Ariel.
David and Ariel were among the last Israeli hostages released in October from Hamas captivity, after 738 days. Their presence in Berlin — for a screening of a film about them, now recut with a redemptive ending — felt almost like an apparition. On the other side of two heavy glass doors were hundreds of theatergoers, people who had long waited for this moment.
The brothers and their extended family were in Berlin for a second premiere of Tom Shoval’s film “Letter to David.” The original film, shown in 2025 at the Berlin International Film Festival, or Berlinale, dove deep into the struggles of a family whose members had been abducted from Kibbutz Nir Oz on Oct. 7, 2023. By then, six kidnapped members of the family, including three children, had been freed. But David and Ariel remained in captivity.
“Last year I was standing before the screening with a poster of David and Ariel. I was determined, every time I showed the film, to say that it’s an unfinished film,” Shoval told the sold-out audience at the theater in former East Berlin.
“And now I’m standing here. I have David in the audience, and I have Ariel in the audience,” he continued. “This is a precious, precious moment.”
The film “is a testament to love, hope and all the people who did not give up during the two years I was in captivity,” David Cunio said in Hebrew, standing on the stage with his extended family. “You gave me a voice when I could not be present. You were there for me.”
The film’s second showing came as tensions over the war in Gaza and Germany’s support for Israel roiled the Berlinale. After the jury’s president, director Wim Wenders, brushed off a journalist’s exhortation for the festival to take a stand against Israel, the Indian author Arundhati Roy announced she would not attend, and some 80 filmmakers and stars signed an open letter of protest.
Festival director Tricia Tuttle issued a statement saying that “artists should not be expected to comment on all broader debates about a festival’s previous or current practices over which they have no control. Nor should they be expected to speak on every political issue raised to them unless they want to.”
Journalists and filmmakers continued to raise the issue, even on the festival’s final weekend, when some award winners — including the Syrian-Palestinian director Abdullah Al-Khatib, who won best debut film — swatted back at the festival jury, criticizing what they see as Germany’s general support for Israel. Al-Khatib’s allegation that Germany has been “partners in the genocide in Gaza by Israel” prompted a German minister to walk out of the awards ceremony on Sunday.
Friday’s screening of “Letter to David” was by contrast a love fest, and the two police cars out front and uniformed officers circulating inside appeared to have little to do. The audience gave the entire family a standing ovation before the screening.
“I think this is a piece of history,” audience member Nirit Bialer, an Israeli who has lived for years in Berlin, said in an interview. “Just seeing the family, and just following the story about this family on the media, going to the Hostages Square in Israel every time I was there in the last two years: Wow, I’m speechless.”
The film’s original ending showed twins David and Eitan Cunio as actors, grappling with each other in an embrace that is both tender and violent, in a scene from Shoval’s feature film, “Youth,” screened at the Berlinale in 2013.
That ending now segues into a new conclusion, in which the reunited Cunio family embraces. They also view the film together, and Shoval captures their faces as the projector beams from behind.
Shoval said in an interview that he had not changed anything in the first part of the film. “I wanted to leave it as a time capsule, in a way, of how we perceived it back a year ago,” he said.
Though he had been invited to be with the family at their reunion, he chose not to, explaining, “I thought it’s a moment that belongs to them and not to me.”
But he spoke with David soon after he was released. And shortly afterward, he visited Sharon and David Cunio at their home. “I came in the morning and we sat until sunset together and we talked. Even when I’m thinking about it now, I’m getting emotional, because it was really…” He paused. “You’re waiting for a moment for this for so long.”
The Friday screening was not an official part of the Berlinale, but the beleaguered festival director Tuttle made a point of taking the stage herself. The film has been “finished in the way that Tom only hoped and dreamed and believed that he would be able to finish it,” she told the audience.
“We were horrified along with the world and all of you when David Cunio and many members of his family were abducted by Hamas,” she said. And on their release “we rejoiced with everyone as well.”
Saying that the new version was completed too late to be included in the festival schedule, Tuttle thanked two co-production companies that work closely with Israeli artists for backing Friday’s screening: the Israel-based Green Productions and the Berlin-based Future Narrative Fund.
Audience members seemed loath to leave the theater after the screening, lingering over what some described as mix of happiness and worry.
“The fact that David is able to see the movie makes us see the movie in a different way,” commented Konstantin, who had seen the original version last year. A young Jewish actor who lives in Berlin, he asked that his full name not be used, out of concerns about antisemitism. “With the ending, it’s like a full circle, completed.”
Seeing the film again with the Cunio family present “was very uplifting and very happy,” said Berliner Julia Kopp, who also saw the film last year. “But at the same time, it’s not a happy ending … I also have a bit of a heavy heart,” worrying about “how life will go on for them.”
Both brothers have indicated that reentry into everyday life has been challenging after two years of captivity for them and two years of traumatized advocacy by their loved ones. And Ariel Cunio and his partner Arbel Yehud, who was held in captivity until January, have raised nearly $1.8 million since launching a crowdfunding campaign last week aimed at allowing them the time and space to “come back to life.”
A crowdfunding campaign launched on behalf of David and Sharon Cunio their twin daughters, also former hostages, says, “The family not only has to deal with the trauma that follows being held hostage and the events that transpired on October 7th, but also needs to rebuild their entire lives from scratch.”
Shoval said the film — and the screening — offered a vision for what a more settled future might look like.
“For me, the film is about the unification of the brotherhood, and what that means to be torn apart from each other, but also to get back,” Shoval said. “They can sit in the theater and they can see themselves. They can see what they missed, what happened. They can project about the past, about the present. This is a power of cinema, I feel. It felt natural for me to do that: to bring them back.”
The post At Berlin screening, former Israeli hostages see film about their captivity rewritten after redemption appeared first on The Forward.
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He may have been the world’s most famous mime, but in this play, he won’t shut up
There is a kind of sublime poetry in Marcel Marceau’s first act.
As a young man in occupied France, Marceau (then Mangel) forged identity papers and shepherded dozens of Jewish children across the Alps to Switzerland. In scenarios where staying quiet was essential for survival, Marceau soothed his charges into silence with his own.
In Marcel on the Train, Ethan Slater and Marshall Pailet’s play of Marceau’s pre-Bip life, the world’s most famous mime is anything but silent.
The action of the play, which bounces through time back to Marcel’s father’s butcher shop and forward to a P.O.W. camp in Vietnam (don’t ask), unfolds over the course of a train ride. Slater’s Marceau is chaperoning four 12-year-old orphans, posing as boy scouts going on a hike.
The kids — played by adults — are a rambunctious lot. Marceau tries to put them at ease juggling invisible swords, performing Buster Keaton-esque pratfalls and exhausting his arsenal of Jewish jokes that circle stereotypes of Jewish mothers or, in one case, a certain mercenary business sense.
Pailet and Slater’s script toggles uncomfortably between poignancy and one-liners with a trickle of bathroom humor (the phrase “pee bucket” recurs more often than you would think.)
The terror of Marceau’s most melancholy escortee, Berthe (Tedra Millan) is undercut somewhat by her early, anachronistic-feeling declaration, “Wow, we’re so fucked.” The bumptious Henri (Alex Wyse) would seem to be probing a troubled relationship with Jewishness and passing, but does that discussion a disservice when he mentions how it wouldn’t be the biggest deal if he “sieged a little heil.” Adolphe (Max Gordon Moore) is described as “an exercise in righteousness” in the script’s character breakdown. Sure, let’s go with that.
The presence of a mute child, Etiennette (Maddie Corman), is tropey and obvious. It doesn’t suggest that she inspired him to abandon speaking in his performances, but it doesn’t dismiss that possibility either.
But the chattiness and contrived functions of the fictive children are made more disappointing by the imaginative staging maneuvering around the shtick. Slater, best known for his role in the Wicked films and as Spongebob in the titular Broadway musical, is a gifted physical performer.
When things quiet down, Pailet’s direction, and the spare set by scenic designer Scott Davis, create meadows of butterflies. Chalk allows Marceau to achieve a kind of practical magic when he writes on the fourth wall. One of the greatest tricks up the show’s sleeve is Aaron Serotsky who plays everyone from Marceau’s father and his cousin Georges to that familiar form of Nazi who takes his torturous time in sniffing out Jews.
Surely the play means to contrast silence and sound (sound design is by Jill BC Du Boff), but I couldn’t help but wonder what this might have looked like as a pantomime.
While the story has been told before, perhaps most notably in the 2020 film Resistance with Jesse Eisenberg, Slater and Pailet were right to realize its inherent stage potential. It’s realized to a point, though their approach at times leans into broad comedy that misunderstands the sensibilities of its subject.
Like Slater, who learned of the mime’s story just a few years ago, Marceau was an early acolyte of Keaton and Chaplin. But by most accounts he cut a more controlled figure — that of a budding artist, not a kid workshopping Borscht Belt bits on preteens.
The show ends with a bittersweet montage of Bip capturing butterflies (not jellyfish — you will probably not be reminded of Mr. Squarepants). It means to frame Marceau’s established style as a maturation that nonetheless retains a kind of innocence, stamped by the kids he rescued.
“You’ll live,” Berthe tells him in a moment of uncertainty. “But I don’t think you’ll grow up.”
In Marceau there was, of course, a kind of Peter Pan. But there’s a difference between being childlike and being sophomoric.
Marcel on the Train is playing through March 26 at Classic Stage Company in New York. Tickets and more information can be found here.
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US soldier who protected Jews in POW camp during WWII to be awarded Medal of Honor
(JTA) — An American soldier who is credited with saving the lives of 200 Jewish comrades in a prisoner of war camp in Germany during World War II will receive the U.S. military’s highest decoration, the Medal of Honor.
The award to Roddie Edmonds, who died in 1985, was announced last week. It comes more than a decade after Israel’s Holocaust memorial, Yad Vashem, recognized him as a “Righteous Among the Nations” for his bravery and six years after President Donald Trump recounted his heroism during a Veterans Day parade.
Edmonds, a sergeant from Knoxville, Tennessee, was the highest-ranking soldier among a group taken prisoner during the Battle of the Bulge in January 2045 when the Nazis asked him to identify the Jews in the group. Understanding that anyone he identified would likely be killed, Edmonds made the decision to have all of the soldiers present themselves as Jews.
When a Nazi challenged him, he famously proclaimed: “We are all Jews here!”
The show of solidarity came to light only after Edmonds’ death, when a Jewish man who had been among the soldiers at the camp shared his recollection with the New York Times as part of an unrelated 2008 story about his decision to sell a New York City townhouse to Richard Nixon when Nixon was having trouble buying an apartment following his resignation as president.
When they found the article several years later, it was the first that Edmonds’ family, including his pastor son Christ Edmonds and his granddaughters, had heard about the incident. Soon they were traveling to Washington, D.C., and Israel for ceremonies honoring Edmonds, one of only five Americans to be credited as Righteous Among the Nations, an honor bestowed by Israel on non-Jews who aided Jews during the Holocaust.
As the family campaigned for a Medal of Honor, Edmonds was also the recipient of bipartisan praise from two American presidents.
“I cannot imagine a greater expression of Christianity than to say, I, too, am a Jew,” President Barack Obama said during remarks at the Israeli embassy in Washington, D.C., on International Holocaust Remembrance Day in 2016.
Three years later, President Donald Trump recounted the story at the New York City Veterans Day Parade. “That’s something,” he said. “Master Sergeant Edmonds saved 200 Jewish-Americans — soldiers that day.”
Last week, Trump called Chris Edmonds to invite him to the White House to receive the Medal of Honor on his father’s behalf, Chris Edmonds told local news outlets. The Medal of Honor ceremony is scheduled for March 2.
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