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Spielberg’s ‘Fabelmans’ earns 7 Oscar nods, WWII epic with anti-Nazi past gets 9

(JTA) – “The Fabelmans,” Steven Spielberg’s autobiographical drama about his Jewish upbringing, had an expected strong haul of Oscar nominations, picking up seven nods Tuesday morning.

A remake of a movie once targeted by the Nazis, a blockbuster embroiled in a lawsuit with an Israeli family and a documentary by the program director of the San Francisco Jewish Film Festival also got recognized in a list jam-packed with Jewish characters, stories and artists.

Spielberg’s movie overcame an anemic box office showing to score nominations in the major categories of best picture, director and screenplay, for Spielberg and celebrated Jewish playwright and screenwriter Tony Kushner. The directing nomination brings Spielberg’s total nominations in the category to nine, tying him with Martin Scorsese for the second-most directing nominations in Oscar history. 

The film also scored acting nods for Judd Hirsch, who is Jewish, and Michelle Williams, who recently said she is planning to raise her two children with Judaism.

“The Fabelmans” was the best picture nominee with the strongest Jewish themes, but it wasn’t the only one. The psychological drama “Tár,” starring Cate Blanchett as a problematic conductor, picked up six nominations, including for picture, actress and director; the film weaves Jewish mysticism into its storytelling.

“All Quiet On The Western Front,” Netflix’s new German-language adaptation of the classic 1929 novel about the horrors experienced by German soldiers during World War I, was also nominated for nine Oscars, including best picture, international feature and adapted screenplay. The film’s source material was once banned and burned by the ascending Nazi Party, which believed its anti-war stance made the German military look weak and constituted a threat to their plans for world domination. 

When the book’s initial 1930 film adaptation, directed by Jewish filmmaker Lewis Milestone, was released in Germany, Nazis led by Joseph Goebbels set off stink bombs, released mice into the theaters and called the movie a “Judenfilm” (or “Jewish film”). Germany and Austria banned the film from being shown in their countries, and the public censorship campaign led the novel’s author, Erich Maria Remarque, to renounce his German citizenship (Nazis were erroneously labeling him as a Jew). 

In response, Jewish studio head Carl Laemmle Sr., agreed to heavily edit the movie and remove material deemed objectionable to the Nazis in order to improve its commercial prospects in Germany. One possible silver lining for the remake’s producers: The 1930 film went on to win best picture that year.

Tom Cruise at a “Top Gun: Maverick” premier at Leicester Square in London, May 19, 2022. (Neil Mockford/FilmMagic via Getty Images)

Back to this year’s Oscars: “Top Gun: Maverick,” the action blockbuster sequel, picked up four nominations, including for best picture. The film’s distributor, Paramount, is currently embroiled in a copyright lawsuit with the family of Israeli journalist Ehud Yonay, whose magazine article about a Navy fighter pilot school was the basis for the original “Top Gun” in 1986. In November, a judge dismissed Paramount’s attempts to throw out the suit and ruled the Yonay family could proceed with their claims.

The writer, director and actress Sarah Polley also scored a nomination for best adapted screenplay for her drama “Women Talking,” about a group of abused women in an isolated Mennonite community, which was also nominated for best picture. Polley has a Jewish biological father, whose secret parentage she explored in her 2013 documentary “Stories We Tell.”

The Jewish film producer Gail Berman also scored her first Oscar nomination for producing best picture nominee “Elvis,” while Jewish producing partners Darren Aronofsky and Ari Handel scored their own best picture nomination for “The Whale.” The movie, which Aronofsky directed, stars Brendan Fraser (also nominated) as a morbidly obese English professor.

In the performing categories, one actor was nominated for playing a real-life Jewish convert: Ana de Armas received a best actress nomination for her portrayal of Marilyn Monroe in Netflix’s “Blonde.” Monroe converted to Judaism in the 1950s and remained devoted to the religion even after divorcing her husband, Jewish playwright Arthur Miller.

Also, veteran actress Jamie Lee Curtis — whose father, Golden Age Hollywood actor Tony Curtis, was Jewish — picked up her first-ever Oscar nomination for her supporting role as a sinister tax officer in the multiverse sci-fi comedy “Everything Everywhere All At Once.” 

Curtis is nominated in the category alongside her co-star Stephanie Hsu, who is also known to fans of the very Jewish TV series “The Marvelous Mrs. Maisel” as Mei Lin, a Chinese restaurant owner who gets together with co-lead Joel Maisel. Early buzz on the upcoming fifth season of “Maisel” says that Hsu’s character will convert to Judaism.

Another “Everything Everywhere” co-star, Jewish actress Jenny Slate, helped a different film score an Oscar nomination in the best animated feature category: the stop-motion mockumentary “Marcel The Shell With Shoes On.” Slate co-wrote the feature with her ex-husband Dean Fleischer-Camp, who directs; Slate also voices the lead role of Marcel. However, she is not one of the nominated producers on the film.

“All The Beauty And The Bloodshed,” a portrait of the outsider artist Nan Goldin and her years-long activism campaign against opioid manufacturers the Sackler family, was nominated in the best documentary feature category and is favored to win. The film documents how Goldin was born to Jewish parents but had an emotionally abusive family life and left home in her teens. The Sacklers are also Jewish.

The documentary short category saw the second nomination in a row for Jewish filmmaker Jay Rosenblatt, whose documentary “How Do You Measure A Year” chronicles many years of his daughter Ella’s birthdays. Rosenblatt is the program director of the San Francisco Jewish Film Festival.

Veteran Polish filmmaker Jerzy Skolimowski was also nominated in the international feature category for his drama “EO,” told from the perspective of a donkey. Skolimowski’s father was a member of the Polish Resistance and his mother hid a Jewish family in their house during World War II.

Jewish composer Justin Hurwitz, who won an Oscar for his work on “La La Land,” was nominated again for the score for “Babylon,” a follow-up production with that film’s director, Damien Chazelle. 

And in the original song category, Jewish songwriter Diane Warren extended her nomination streak to 14 for the number “Applause,” from the feminist documentary “Tell It Like A Woman.” Warren has never won a competitive Oscar but did receive an honorary Academy Award last year.


The post Spielberg’s ‘Fabelmans’ earns 7 Oscar nods, WWII epic with anti-Nazi past gets 9 appeared first on Jewish Telegraphic Agency.

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Trump-MBS Dealmaking Shaped Gaza Vote at UN, Empowering Hamas, Israeli Analysts Warn

US President Donald Trump greets Saudi Crown Prince and Prime Minister Mohammed bin Salman, during a dinner at the White House in Washington, DC, US, Nov. 18, 2025. Photo: REUTERS/Tom Brenner TPX IMAGES OF THE DAY

This week’s UN Security Council resolution endorsing US President Donald Trump’s 20-point Gaza peace plan was timed to appease Western and Arab governments and deliberately crafted to blur the question of Palestinian statehood in pursuit of broader regional interests, according to Israeli analysts, who warned the move risked empowering Hamas and endangering Israel’s security.

Einat Wilf, a former member of Israel’s parliament, known as the Knesset, said the UN resolution intended to remove the Palestinian question from the headlines but could lay the groundwork for “another Oct. 7,” referring to Hamas’s Oct. 7, 2023, massacre across southern Israel, by repeating the same policy of ambiguity that allowed the Palestinian terrorist organization to regroup under previous ceasefire agreements. 

Dan Diker, president of the Jerusalem Center for Security and Foreign Affairs (JCFA), argued the vote was strategically timed to coincide with Trump’s meeting with Saudi Crown Prince Mohammed bin Salman in Washington. The US president sought to pair international endorsement of his 20-point Gaza plan with Saudi commitments toward normalizing relations with Israel. Bin Salman, also known as MBS, told reporters in the Oval Office on Tuesday that he was open to joining the Abraham Accords, a series of US-brokered Arab-Israel normalization agreements, if credible progress toward Palestinian statehood could be demonstrated.

The Trump administration aimed to show that the “pathway to implementing Stage Two of the Gaza plan — which includes the International Stabilization Force and a framework for Palestinian statehood — is already in place,” Diker told The Algemeiner in a phone call. “The goal was to get international sanction through the UN so the White House could silence naysayers who claim the plan is a Trump-Israel conspiracy.”

A new poll conducted by the JCFA ahead of the Security Council vote found that 70% percent of Israelis opposed the creation of a Palestinian state under current conditions, with opposition rising to just under 80% among Jewish Israelis. Even when linked to Saudi normalization, the overwhelming majority (62%) remained opposed. 

According to Diker, the UN resolution was largely declarative and would not bring the region closer to a Palestinian state. The real agenda rested with Saudi-US ties, with MBS telling Trump that Saudi investments in the United States would increase to nearly $1 trillion. Palestinian statehood figured mostly as lip service, and while Israel signed on, the Palestinian leadership in the form of the Fatah-led Palestinian Authority has proven incapable of governing its own public, with polling consistently showing Hamas as the preferred choice among Palestinians — both in Gaza and the West Bank.

“It’s an ironic development that the great Western powers pushing for a Palestinian state are essentially strengthening Hamas’s hand as the effective leadership of the Palestinian people following the Oct. 7 massacres,” he said. 

Wilf, who recently announced her return to politics with her newly formed Oz party, argued that Washington’s goal is to push the Palestinian issue “off the headlines” long enough to advance its broader Middle East agenda. 

“The Abraham Accords are no longer about normalizing relations with Israel,” she said in a briefing with reporters on Wednesday. “It’s basically American shorthand for bringing the Islamic and Arab world into the Western orbit in a more structured way and pulling them as much as possible away from China.”

Wilf warned that while Washington’s approach of “constructive ambiguity — the vague language now anchoring the resolution — may serve its short-term strategic goals for the conflict, it puts Israel at risk. By avoiding clear definitions of what a reformed Palestinian Authority or a de-radicalized Gaza would mean, she argued, the resolution leaves the same loopholes that allowed Hamas to rebuild in the past.

The deeper problem, Wilf argued, is a pervasive Palestinian ideology built on rejecting Jewish sovereignty. Until that changes, efforts toward statehood will remain hollow, a dynamic she summed up as “Schrödinger’s Palestine” — a state when it comes to attacking Israel in international forums but not a state when it comes to taking responsibility for its own actions.

Diker said the tension Wilf described has already become a “built-in collision” between Western diplomacy and Palestinian realities.

“The West is acting in a rather colonialist manner by refusing to note the democratic choice of the Palestinian people,” he said. “Oct. 7 was Hamas’s crowning achievement to ultimately uproot and replace the Fatah-led leadership of the Palestinian street.”

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Iran ‘Has No Choice’ but to Move Capital as Water Crisis Deepens, Says President

People shop water storage tanks following a drought crisis in Tehran, Iran, Nov. 10, 2025. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS

Iranian President Masoud Pezeshkian affirmed on Thursday that the country “has no choice” but to relocate its capital, warning that severe ecological strain has made Tehran impossible to sustain — even as the regime spends billions of dollars rebuilding its military and nuclear infrastructure and backing its terrorist proxies.

In a televised national address, the Iranian leader renewed his call to relocate the capital, asserting that the deepening crisis has “rendered the city uninhabitable.”

Pezeshkian said Iran’s water, land, and infrastructure systems are under such extreme pressure that relocating the capital is now unavoidable, adding that when the move was first proposed, the government lacked even a minimal budget to pursue it.

“The truth is, we have no choice left — relocating the capital is now a necessity,” he said during his speech.

With parts of the city sinking up to 30 centimeters a year and water supplies dwindling, Pezeshkian described Tehran’s current situation as a “catastrophe.”

He urged government ministries and public officials to coordinate their efforts to avert a grim future for the country.

“Protecting the environment is not a game,” the Iranian leader said. 

“Ignoring it is signing our own destruction,” he continued, explaining that Tehran can no longer cope with population growth or the city’s expanding construction.

Among the solutions considered to tackle the crisis, one has been importing water from the Gulf of Oman. However, Pezeshkian noted that such an approach is extremely costly, with each cubic meter costing millions to deliver to Tehran.

Earlier this year, the Iranian regime announced it was considering relocating the capital to the Makran coast in the country’s south, a remote region overlooking the Gulf of Oman, in a bid to ease Tehran’s congestion and alleviate its water and energy shortages.

Advocates of this initiative emphasize its strategic benefits, including direct access to the Indian Ocean and significant economic potential through maritime trade, centered on the port of Chabahar, Iran’s crucial gateway to Central Asia.

However, critics argue that the region is still underdeveloped, fraught with security risks, and unprepared to function as a capital, warning that the move could cost tens of billions of dollars — an amount the country cannot bear amid economic turmoil, soaring inflation, and renewed United Nations sanctions.

Notably, the Iranian regime has focused its resources on bolstering its military and nuclear programs rather than addressing the country’s water crisis, a choice that has left citizens’ needs unmet while advancing its agenda against Israel.

The regime has also spent billions of dollars supporting its terrorist proxies across the region and operations abroad, with the Quds Force, Iran’s elite paramilitary unit, funneling funds to the Lebanese group Hezbollah, in defiance of international sanctions.

According to the US Treasury Department, Iran has provided more than $100 million per month to Hezbollah so far this year alone, with $1 billion representing only a portion of Tehran’s overall support for the terrorist group, using a “shadow financial system” to transfer funds to Lebanon.

Iran also provides weapons, training, logistical support, and political backing to the group along with other proxies, including Hamas in Gaza, the Houthis in Yemen, various militias in Iraq and Syria, and other Islamist entities.

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A shocking true story of Mexico’s Jewish community comes to Netflix

Growing up in Paris, an Italian castle, South Africa at the dawn of its civil rights movement and a kibbutz in the then-new state of Israel sounds like it would be enriching, the project of idealistic parents who wanted their children to see the world and witness history. But that wasn’t exactly how it unfolded for Tamara Trottner, née Salzberg, and her brother Isaac.

Instead, they lived in these locations for three years because they were on the run with their father Leo (Emiliano Zurita), who was being hunted by Interpol for kidnapping his own children. He had taken them to retaliate against his wife, Valeria (Tessa Ia), after she had an affair with his brother-in-law.

Trottner wrote a memoir about the experience and it has been adapted into a gripping and sumptuously-filmed Spanish-language miniseries, No One Saw Us Leave, which recently arrived on Netflix.

In the opening episode, we see a stylish wedding between a young Valeria and Leo, both children of leaders of Mexico City’s small Ashkenazi Jewish community. As she prepares to walk down the aisle, Valeria’s mother tells her she is destined to have “a sheyne lebn” — a beautiful life, in Yiddish — and the crowd dances to “Hava Negila.”

A strained Valeria and Leo at their wedding. Courtesy of Netflix

But even at their wedding, there’s little warmth between the two; their marriage is closer to a merger between their two families, and while they don’t hate each other, there’s little mutual understanding — Leo believes Valeria should be the woman of the house, but she is tapped into the burgeoning feminism of the 1960s and wants to get a Master’s degree.

We switch between flashbacks of the pair’s marriage — we see the beginnings of Valeria’s affair, as she dances with her brother-in-law Carlos — and Leo’s international run with his children, Tamara and Leo. Though the children, who begin the voyage aged 5 and 7, constantly ask about their mother, he alternates between telling them that she is coming to join them soon and that she did “something bad” and doesn’t want to see them anymore. In fact, Valeria is searching desperately, and has hired an ex-Mossad agent (Ari Brickman) to aid her in the international hunt.

It’s an emotional and suspenseful story as Leo routinely manages to evade the international police. But the subtle story driving all of the drama is that of the tight-knit Jewish community in Mexico City — even today, only 3% of Mexican Jews marry outside the community — and the interplay of respectability and influence within it.

As part of his retribution against Valeria — and to protect his own reputation as he flees Mexico — Leo spreads a story that his wife was unstable and an unfit mother, even alleging that she had been committed to a psychiatric facility. For at least the first episode of the show, the audience, too, is unsure why Leo has really taken the children, and the story about Valeria seems plausible; we’re not sure who to stand with.

The rest of the Jewish community, too, is unsure; at first, people ice out Valeria and her family as they try to gain information about the children’s whereabouts. The push and pull between two powerful families leaves the community confused and caught in the middle. And after Valeria launches a publicity campaign to clear her name and solicit clues, many of the other leaders worry about the damage to the community’s public image in Mexico, alluding to the European antisemitism they fled from. Leo’s father, meanwhile, is a domineering figure who asserts that his daughter-in-law’s affair is just as bad a blow to the community’s reputation as the kidnapping.

Valeria, Carlos — her affair partner — and ex-Mossad agent Elias look at a map of kibbutzim as they search for the children in Israel. Courtesy of Netflix

The confusion is helped by the fact that Leo is not presented as a villain; he’s a well-developed character, with his own issues with his marriage and with his overbearing father. An ardent socialist, we see him join an activist group against apartheid while hiding in South Africa, and later, when he flees to Israel, he joins the kibbutz he’d dreamed of, and is embraced for his politics and architectural talents.

(Leo’s time in Israel also gives the audience a window into the kibbutzim of the 1960s, which were still practicing an almost militant form of socialism they have since left behind — children were raised communally and told to call their parents by their first names.)

Eventually, Valeria finds her husband and the children, after checking nearly every kibbutz in the country — we see Kfar Aza, one of the towns destroyed on Oct. 7, get crossed off a list — and Israeli courts order Leo and the children back to Mexico. An end note summarizes the rest of the history: Valeria and Carlos, her affair partner, won and raised the children together, who didn’t see Leo again for 20 years.

Of course, much of the show’s drama is in the obvious: Leo’s flight, the children’s growing realization that their father has been lying to them, Valeria’s desperation. But the quiet conflict between families, the power of reputation — both within the small Jewish community and between that community’s relationship and the broader world — undergird every moment of the story. The power of Jewish community is, ultimately, inescapable.

The post A shocking true story of Mexico’s Jewish community comes to Netflix appeared first on The Forward.

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