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Meir Shalev and Yehonatan Geffen were Israeli cultural royalty. Their deaths leave a hole on the left.
(JTA) — Over the last few months, since the far-right government announced its plans for an overarching constitutional overhaul, Israel’s embattled liberal camp has experienced a renaissance. Unprecedented mobilization on the part of protesting masses, business leaders and the IDF vanguard has left the government in disarray and, in the wake of a seemingly endless string of electoral defeats, invigorated the left to an extent that it had not seen since the 1990s. The left may be dead, but it is not quite buried yet.
But amid this process of rejuvenation and weeks before Israel celebrated its 75th anniversary, the Israeli left experienced two symbolic blows in ironic proximity when two cultural titans died within days of each other.
Meir Shalev, an eminent novelist, and Yehonatan Geffen, an incredibly prolific journalist, author and songwriter, were also prominent public intellectuals. Both had spent decades dabbling in current affairs as columnists for the mass-circulation dailies Yedioth Aharonoth and Maariv, respectively.
Shalev was 74 when he died on April 11. Geffen, who died on April 19, was 76.
The symbolism did not stop at their premature and almost simultaneous passing. It was, rather, the final chapter of two lives that also began in great proximity: Shalev and Geffen were born a little over a year apart in the agricultural community of Nahalal, the Camelot of the Labor Zionism movement. Both were descendants of Zionist aristocracy: Shalev’s father was the Jerusalemite author and educator Yithzak Shalev, and Geffen’s maternal uncle the legendary general-turned-politician Moshe Dayan. Like many of their cohort, they were groomed for the driving seat of the newborn State of Israel.
Their formidable life’s work, thus, was largely an ongoing attempt to deal with the burden bestowed upon them by their pedigrees. And this is where they differ, despite the eerie similarities in their biographies.
Many of Shalev’s novels, especially the earlier ones, were loving tributes to his lineage. They included “A Pigeon and A Boy,” which is set during the War of Independence and won the National Jewish Book Award in 2006, and “The Blue Mountain,” set on a moshav (an agricultural cooperative) shortly before the founding of Israel. Though never overly sentimental and always strewn with a heavy dose of irony, Shalev’s writings were adoring accounts of a bygone generation, complete with their shtick and quirks and foibles. His protagonists were shrouded in a certain mythology, which Shalev did not labor to deconstruct entirely; he was just attempting to humanize and bring them down to earth.
But while Shalev looked up to his parents’ generation, Geffen blew a raspberry in their faces. He was part of a tight cohort of musicians and artists who grew up in Israel post-independence — a tribe that included David Broza, Arik Einstein, Gidi Gov, Shalom Hanoch and Yehudit Ravitz, all household names in Israel. Geffen’s song “Could It Be Over?”, featured on Arik Einstein’s 1973 album sporting the deliberately ironic title “Good Old Israel,” exemplifies the challenging relationship. From the opening line (“They say it was fun before I was born, and everything was just splendid until I arrived”), the song is a mischievous and self-deprecating take on Israel’s founding myths. Enumerating them one by one — the draining of the swamps, the heroic battles for Jewish sovereignty, the nascent Hebrew culture in the pre-state Yishuv — Geffen sarcastically concludes: “They had a reason to get up in the morning.”
More broadly, Geffen was bent on smashing every aspect of the Zionist ethos. In defiance of the image of the Hebrew warrior, of which his uncle Moshe was the poster boy, Geffen was an adamant pacifist as well as, famously, a very bad soldier himself. Having been called for reserve service during the first Lebanon War, in 1982, he was performing for soldiers ahead of the IDF offensive on Beirut when he was dragged off stage by the commanding officer for calling on the troops to refuse. His song “The Little Prince of Company B” (sung by Shem-Tov Levy), about a timid and frail fallen soldier praised as a hero against his will, was one of the first and best-remembered anti-war songs in the Hebrew canon.
Geffen’s counterculture instincts were informed by his great American heroes — notably the Jewish iconoclasts Bob Dylan and Lenny Bruce — and this admiration was in itself a jab at his upbringing, characterized by vain parochialism masquerading as self-sufficiency. Geffen felt more at home in New York (where he spent several years) and Tel Aviv than in the fields of the Jezreel Valley; his tools were not a sickle and a plow, but rather a pack of cigarettes and a bottle of whisky.
Shalev, in his political writing, also advocated for left-of-center politics that is sometimes derisively described as “Ashkenazi”: moderate, civil, Western in its orientation, calling to rally around a common good — a type of political discourse that, as recent events show, speaks to fewer and fewer Israelis. “The Israeli public is moving more and more to the right. The war in 1967 may have destroyed Israel,” he told an interviewer in 2017. “We took a big bite that is now suffocating us. All Israel has done since 1967 is deal with aspects of the occupation. Israel has not been dealing with the things I feel it should deal with. With my political views, I am a minority in Israel.”
Shalev was a pastor of sorts; Geffen was sometimes a Jeremiah and sometimes a court jester, and often both.
They were representatives of two distinct streams within the traditionally fragmented Israeli left; the very same left that, despite the current resurgence, seems too often to have more streams than members.
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This Israeli filmmaker harshly criticizes his country. Pro-Palestinian activists boycotted him anyway
(JTA) — Earlier this year Nadav Lapid, the award-winning Israeli dissident filmmaker, traveled with his son to Marseille for a screening of his latest film. He fell in love.
“This city reminded me of Tel Aviv, in a way, with the beach and everything,” he recounted Wednesday to the Jewish Telegraphic Agency — referring to the city he no longer lives in, having built a career with movies that take sharp aim at what he calls the “moral abyss” of Israeli society. When a Marseille film festival then invited him to serve on its jury for its upcoming installment in July, he readily accepted.
Then the boycotts started. Last month around a dozen pro-Palestinian filmmakers threatened to pull out of the upcoming Marseille International Film Festival over Lapid’s planned participation because, they said, he had accepted funding from the Israeli government to support his work. (Lapid’s movies, including his latest, have received funding from Israel’s film fund.) Following this, according to the accounts of both Lapid and the festival’s director, the festival had second thoughts about him serving on the jury.
While the festival offered him the opportunity to participate in a public master class instead, Lapid said, the protesters hadn’t relented: “It’s not enough for these people.”
Frustrated, the director earlier this week decided to pull out of the festival altogether. He’s not happy about it.
“To make people like myself the enemy when the actual state of things is so terrible, it’s insanity. It’s stupidity,” he told JTA. “For them, the highest triumph of the Palestinian cause is if they will cancel my master class in Marseille? I think it’s pathetic.”
Lapid has received a groundswell of support this week: Natalie Portman and hundreds of other film-industry figures have signed open letters criticizing the boycotts against him. While he’s uncomfortable with being in the spotlight for reasons unrelated to his films, Lapid said he’s pleased with this outcome.
“You could have composed an unbelievable cinematic program from only the filmmakers that texted me during the last hour,” he said.
Even so, the filmmaker says, he’s now unsure if he is still welcome in France as a dissident Israeli.
“I asked myself whether they would like me to stop doing movies, or to leave France,” he told JTA. Elsewhere, he’s described himself as “homeless.”
It’s the latest unspooling of painful dynamics around artistic boycotts of artists and institutions seen by the left as normalizing Israel. Last month another French cultural figure, the Jewish comics artist Joann Sfar (“The Rabbi’s Cat”), faced calls to boycott his presence at a literary festival, also in Marseille. In its justification, a pro-Palestinian artist collective, pushing an Instagram post reading “Zionists out of our city,” cited Sfar’s signing of an open letter last year that argued a Palestinian state should not be recognized unless Hamas could be disarmed and Gaza’s Israeli hostages freed.
In recent months, in addition to broader boycotts of the Israeli film and TV industry, several leading cultural critics of Israel — both Jewish and not — have been targeted as well. Those include bestselling author Sally Rooney for publishing a Hebrew-language translation of her novel with a left-wing Israeli publisher (some prominent activists accused her of exploiting a “loophole” in the Boycott, Divestment, Sanctions movement against Israel); Jewish Currents editor Peter Beinart for speaking at Tel Aviv University; and Jewish author Joshua Leifer for associating with a “Zionist” rabbi at a book event.
In Lapid’s case, the group organizing against him, La Palestine Sauvera Le Cinéma, argued that “Nadav Lapid is not being targeted because of his Israeli nationality.”
Instead, the collective asserted, their objection was due to Lapid having accepted funding from Israel to complete his latest film, “Yes!”; the fact that the film premiered at the Cannes Film Festival as an Israeli co-production and competed for Israel’s highest film awards; and Lapid’s past participation in an Israeli film festival in Paris.
“The cultural boycott does not target artists because of their nationality or personal opinions,” the filmmakers wrote, in French, in a blog post. “What is at issue here is the reality of their integration into the institutional and political structures of the Israeli state.”
For Lapid, whose new movie follows Israeli musicians hired to write an openly genocidal post-Oct. 7 anthem for their nation, this argument doesn’t hold water. Lapid has long been critical of cultural boycotts, including BDS. Such measures, he told JTA, are a form of “dogmatic Stalinism” and don’t “move one piece of sand” in Israel.
“I became a test case of purity,” he mused.
Others agree. More than 350 entertainment industry figures signed the first of two open letters in the French newspaper Le Monde backing him, which was published Sunday.
“Inviting an artist to a festival does not make them a cultural ambassador,” the letter reads, in French, decrying a “campaign of intimidation” against Lapid while also noting what the signatories said was the “genocidal logic” of Israel’s campaign in Gaza.
Among this letter’s signatories were Justine Triet and Arthur Harari, the Oscar-winning team behind “Anatomy of a Fall”; Harari is Jewish and a critic of Israel himself. Arnaud Desplechin, a French filmmaker who often features Jewish characters in his work, also signed. Other signers include acclaimed directors Claire Denis, Mati Diop, and Kleber Mendonça Filho; Romanian director Radu Jude, whose films have explored his country’s complicity in the Holocaust; and Palestinian historian Elias Sanbar.
A second open letter, published on Monday, calls the campaign against Lapid an “intellectual failure” and states, “No matter what crimes a state may commit, no one should be reduced to a passport.” It was signed by a smaller cohort of 10 names, including Portman; French-Jewish director Rebecca Zlotowski; and Oscar-winning filmmakers Jacques Audiard and Michel Hazanavicius.
Like Lapid, Portman — an Israeli-American actress who is one of the most prominent Jews in Hollywood — is a longtime critic of the Israeli government and opponent of the BDS movement.
Creative Community For Peace, a pro-Israel entertainment group, said Wednesday its members also oppose the boycott of Lapid, adding that Israel “funds, screens, and honors films that challenge its leaders, criticize its society, and engage openly with its most difficult debates.”
Unusually, the Marseille festival’s own director, Tsveta Dobreva, also signed one of the open letters in support of Lapid after she appeared to acquiesce to the earlier demands to pull him from the jury.
In an email, Dobreva told JTA her festival “fully supports Nadav Lapid,” saying that she had removed him from the jury out of concern he would be targeted at the event. She did not believe she had “agreed to the boycotters’ demands,” she said.
“Few festivals or cultural institutions in our days have the courage to extend invitations that may provoke controversy, and we stand with Nadav in believing that this form of self-censorship must be resisted, as it only contributes to the problem,” Dobreva wrote.
Lapid intends his next movie to be a follow-up to “Synonyms,” his 2019 film about an Israeli expat in Paris that won the top prize at the Berlin Film Festival. The Marseille festival is scheduled for July, but he says now he has no intention of going: “I’ll find other beaches.”
The post This Israeli filmmaker harshly criticizes his country. Pro-Palestinian activists boycotted him anyway appeared first on The Forward.
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Trump is imagining an Israel after Netanyahu. So are many Israelis. Netanyahu isn’t biting.
(JTA) — The party of Israeli Prime Minister Benjamin Netanyahu has rejected speculation that he might not run in Israel’s election this fall, following an offhand comment by U.S. President Donald Trump.
On Tuesday, ABC correspondent Jonathan Karl tweeted that Trump had told him he was unsure if Netanyahu wanted to press forward in the elections.
“He’s had an amazing career,” Trump said, according to Karl. “Does he want to continue? Because, you know, he’s a wartime prime minister. We will very shortly win the war one way or the other, and you know he’s a wartime prime minister.”
Netanyahu has been prime minister for more than 15 of the last 17 years, losing power only briefly in 2021 and 2022. Israel’s current wars began on Oct. 7, 2023, when Hamas attacked Israel, triggering regional conflict that has grown to include a joint U.S.-Israeli war with Iran.
Trump’s reported comments left some wondering whether he knew something they did not, amid polling suggesting that Netanyahu will struggle to secure enough votes to put together a governing coalition after elections this fall. Could Trump know that Netanyahu is considering suspending his already-active campaign? Or could Trump, who this week told the BBC that Netanyahu does anything the U.S. president tells him to, be planning to order his Israeli counterpart to stand down amid growing anti-Israel sentiment in the United States?
Netanyahu’s Likud party soon demolished the idea. “Prime Minister Netanyahu will run in the upcoming elections — and with God’s help, he will win,” the party posted Wednesday on X.
Only a minority of Israelis were primed to appreciate the declaration, according to a poll released this week by the Israel Democracy Institute. It found that 61% of Israelis, including 27% of Likud members, do not want to see Netanyahu run again this fall. The same proportion said they want to see Israel adopt a two-term limit for prime ministers in the future.
The post Trump is imagining an Israel after Netanyahu. So are many Israelis. Netanyahu isn’t biting. appeared first on The Forward.
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Spain reports 86% rise in antisemitic incidents, as interior minister takes aim at ‘xenophobia’
(JTA) — Antisemitic offenses in Spain rose 86% last year amid the country’s highest total hate incidents on record, according to a report from the Spanish government.
Jews were targeted in 69 hate crimes and incidents in 2025, up from 37 in 2024, according to a report released last week by Spain’s Interior Ministry. Islamophobic attacks also increased from 15 to 35 incidents.
Interior Minister Fernando Grande-Marlaska said in a video posted on Facebook that his office documented 2,417 total hate incidents last year, the highest figure since it began recording in 2014. Spain is home to about 70,000 Jews, according to the Federation of Jewish Communities of Spain.
The ministry defined antisemitism as any act of hatred, violence or discrimination directed against Jews or “nationals of the State of Israel.”
Spanish Prime Minister Pedro Sánchez has become one of Europe’s sharpest critics of Israel and its military action in Gaza, which he says constitutes genocide. Spain imposed a total arms embargo on Israel in 2025 and permanently withdrew its ambassador in March, following Israel’s withdrawal of its ambassador to Spain in 2024.
The Interior Ministry said hate crimes motivated by racism and xenophobia accounted for the largest number of offenses at 934. Grande-Marlaska called out “public officials” for rhetoric and policies that he said inflamed xenophobic sentiment.
Grande-Marlaska released his report as Spain’s far-right, anti-immigration Vox party advocates for a “national priority” policy that favors Spaniards over others in access to public aid and benefits, such as subsidized housing and healthcare. Vox recently struck deals with the conservative People’s Party to insert the “national priority” clause into coalition agreements in the regions of Extremadura, Aragón and Castile and León.
“The national priority is xenophobia,” Grande-Marlaska said. “It is institutionalized xenophobia, protected and promoted by public officials who legitimize and amplify hate speech that, in the past, would have been condemned when it entered the public sphere.”
Vox is strongly supportive of Israel, whose government has allied with the party despite a history of neo-Nazis in its ranks. Vox leader Santiago Abascal visited Israel in 2024 to show his support for Prime Minister Benjamin Netanyahu after Sánchez recognized a Palestinian state.
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