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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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A new musical wonders: What happened to solidarity with English Jews?

The Battle of Cable Street, a 1936 street scuffle off an obscure stretch of road in London’s East End, holds a totemic importance to the Jews of England, and, given how few they are in number, a correspondingly small significance in the larger British imagination.

The musical Cable Street, dramatizing that showdown between Jewish and Irish East Enders against Oswald Mosley’s fascist blackshirts, arrives Off-Broadway from London amid a spate of headlines about the safety of English Jews and a subsequent minimization of their fears. Only now, the political alignment of those defending or hectoring Jews has recalibrated from the days the play examines.

In his rhetoric and tactics, the anti-Islam “activist” Tommy Robinson, who antagonizes Muslim neighborhoods and marched through Central London in his “Unite the Kingdom” rallies, would appear to be the heir apparent to a Mosley, with the exception that he presents himself as a friend of the Jews. (Most Jews in the U.K. won’t have him; the Israeli far-right welcomed him to the Jewish state last October.)

On the left, the multicultural coalition has found a cause in Palestinian rights, which they march for like clockwork. Jews, who in the U.K. make up about .5% of the population but a whole 29% of recorded religious hate crimes, don’t count in their social justice calculus, comedian David Baddiel has argued. Evidence is mounting in that direction.

Police have surrendered to community leaders pushing to cancel an Israeli soccer club match, fabricating evidence with A.I. post facto to make it seem like the Israel fans will be the violent faction. A Panorama documentary from last month makes an earnest case for Jewish anxiety, but aired only after the BBC was made to review their standards over stories on Gaza following the network running a documentary that failed to disclose its narrator was the son of a Hamas minister. (This to my mind is nowhere near as egregious as the channel’s reluctance some years before to back down from blaming Orthodox children for their own abuse by mistranslating a word of Hebrew into an anti-Arab slur.)

Jews being gunned down outside shuls on Yom Kippur or stabbed in the streets – as they were just last week, two days before I saw this musical — don’t mobilize the masses. They do get the odd pundit condemning the violence, only to then to whatabout with the humanitarian disaster in Gaza or blame Jewish institutions’ efforts to conflate Jews and Israel, as if only when uncoupled will their targeting be truly horrendous.

British Jews are so much a rounding error they could hardly sway a council election. That fact scarcely moves the needle on the old libels of governmental control, as Labour responds to violence with crack downs on pro-Palestinian protests.

The development of Cable Street goes back years before the current bloodletting, yet it has hit on a rhyme in history.

The story provides a framing device of a present-day walking tour before jumping back in time to follow three youths and their families: Irish immigrant Mairead (Lizzy-Rose Essin-Kelly), who dreams of a writer’s life during her day job rolling bagels; Sammy Scheinberg (a dynamic Isaac Gryn), who wants to be a boxer against the wishes of his shmata business father; and Ron (Barney Wilkinson) a recent Lancashire transplant, underemployed, with hair the color of threshed wheat, ripe for recruitment by a band of populist nativists.

The show finds hope in an unlikely coalition of Irish dockworkers, Jews and Communists rallying to stop a police-escorted British Union of Fascists (BUF) march through London’s Jewish Quarter. The parable is so near to today’s headlines that it can make one’s head spin, and, in the particular case of a Jew, scan for allies. Better luck in New York, with the Brits Off Broadway festival, than across the pond, where this may be taken as a more general parable, with Jews as allegorical victims standing in for other marginalized groups. To read into the story the excesses of today’s protests, and what the authorities allow under the pretext of free speech, would surely be sacrilege, depending on which marchers it’s applied to and where your loyalties lie.

The cast take on a horse — in the real battle, local kids tripped the cavalry with marbles. Photo by

The music by Tim Gilvin has shades of what I’ll call Hebraic Hamilton (“Dream of making the dough, making the bread, baking the challah,” Sammy spits bars over a backbeat). There’s an Irish jig and a ballad that sounds like Coldplay, and “Only Words,” an elegiac plea from a Jewish father to his hothead son. (Jez Unwin plays the Scheinberg patriarch, a modern-day descendant and the leader of the Stepney BUF.) A ragtime number of chattering broadsheets sellers feeds us intermittent exposition.

The introduction of the BUF imagines them as a ‘90s boy band, making fun before they prove their menace. It works better downtown, when the Nazis in another British import, Operation Mincemeat, do their K-Pop number, as that show is an all-out farce.

Better by far is the play’s treatment of Jewish scenes, scripted by book writer Alex Kanefsky with deft direction by Adam Lenson. We hear a hamotzi, see a synagogue (with an implied women’s balcony) and hear a refrain of Sholem Aleichem and Sim Shalom integrated into musically layered sequences.

The indefatigable cast of 13 plays countless characters, switching allegiances from Mosleyites to Jews at the donning of an armband. This can lead to odd stage imagery, as when musician-actor Max Alexander-Taylor is togged up like a blackshirt while riffing on an electric guitar. (The rest of the band is on a top level, shielded in by the corrugated metal and chainlink of Yoav Segal’s set design.)

But there are moments of sublime stage work, après Les Miz, as the story’s action rises and the street mounts a defense with slogans borrowed from Spanish Republicans. The play, in its chilling wisdom, doesn’t stop at this high point. It allows room for what followed: The BUF’s membership only grew after the battle. Regrouping, they retaliated with a pogrom against the Jews. This time, no one showed up to defend them.

The cringey lyric of the battle song — “we’re not like the others, we won’t let you demonize our sisters and brothers” — is replaced with a more sober conclusion from Sammy’s sister in the wreckage of the attack.

After noting how “the rich blame the poor, the poor blame the rich and everybody hates the Jews,” Rosa Scheinberg (Romona Lewis-Malley) laments that “when the common enemy’s defeated, old wounds flare up, and old mistakes get repeated.” Solidarity was but a brief and shining moment.

As a concession to hope, the show doesn’t end there, but it very well might.

The musical Cable Street plays at 59E59 in New York through May 24. Tickets and more information can be found here.

The post A new musical wonders: What happened to solidarity with English Jews? appeared first on The Forward.

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Progress Without Power: The Limits of the Lebanon Ceasefire

Smoke rises following explosions in southern Lebanon, near the Israel-Lebanon border, as seen from northern Israel, April 27, 2026. Photo: REUTERS/Shir Torem

Last month’s announcement by President Donald Trump of a temporary extension to the Lebanon–Israel ceasefire, amidst ambassador-level Israeli-Lebanese talks in Washington, was greeted, in some quarters, with cautious optimism.

This is understandable.

Lebanon and Israel have been in a technical state of war for decades, with even basic engagement once unthinkable.

What’s more, rhetoric emerging from the Lebanese government of President Joseph Aoun — including unprecedented criticisms of Hezbollah, the heavily armed Iranian terrorist proxy which has dominated Lebanon for decades — provides even more reasons for optimism.

But that optimism collided almost immediately with reality. Soon after the extension was announced, Israeli troops came under attack from a Hezbollah drone strike, leaving six wounded and 19-year-old Sgt. Idan Fooks dead — the third Israeli soldier killed since the ceasefire began in early April.

Israel responded, as it was entitled to under the terms of the ceasefire agreement, with targeted strikes on Hezbollah positions and infrastructure. Retaliatory attacks have since continued.

These events expose the limits of the ceasefire.

The intentions may be honorable, and hopes may be real. But hope is not a strategy. And the situation in Lebanon is such that any positive hopes for an end to the violence cannot be fulfilled while an armed Hezbollah remains a decisive power in Lebanon.

Hezbollah has long operated as a state within a state — exercising power far beyond Lebanon’s elected government. Any agreement struck with Beirut is therefore inherently constrained, because the Lebanese government does not control much of its own territory, and does not currently have the ability to make Hezbollah stop firing at Israel, much less disarm. Indeed, Hezbollah openly says it will not be bound by any deal the Lebanese government makes with Israel.

This reality was laid bare in March, when Lebanon expelled the Iranian ambassador — only for him to simply refuse to leave.

To its credit, for the first time in years, Lebanon has shown signs of recognizing the problem, and trying to actually do something about it. For example, Lebanon has moved to end Hezbollah’s control over Beirut’s airport, taken steps against unauthorized weapons, and President Joseph Aoun has even accused Hezbollah of treason.

Meanwhile, Israeli forces continue to uncover Hezbollah weapons stockpiles — including in children’s rooms and underground bunkers within populated areas in southern Lebanon, which the Lebanese army claimed to have cleared of Hezbollah military bases and activity last year. All of this is in direct violation of the 2006 United Nations Security Council Resolution 1701, which calls for Hezbollah’s disarmament, as well as the ceasefire agreement that ended the Israel-Hezbollah war in 2024, in which Beirut promised to finally fulfill its obligation under 1701.

This is why the current ceasefire does not fully address the real sources of violence and instability, even as too many in the international community continue to confuse ceasefires with peace.

Reports indicate that Hamas is using the ceasefire in Gaza to rebuild capabilities and consolidate control there. Hezbollah has followed a similar pattern. So even if periods of calm emerge, they are unlikely to last long.

There is no question that Iran and its proxies have been weakened by the last two and a half years of war. But ideological regimes do not measure success in conventional terms. They do not concede defeat. And they do not abandon their objectives.

This is why the persistent focus by parts of the international community on ceasefires and “de-escalation” — with the demands directed mainly at Israel — risks overlooking the central challenge.

French President Emmanuel Macron continues to push for de-escalation, urging Israel to withdraw from Lebanese territory and calling for Hezbollah to cease its attacks. He also says Hezbollah must ultimately be disarmed by the Lebanese themselves.

Australian Foreign Minister Penny Wong echoes similar concerns, condemning Hezbollah’s attacks on Israel and calling for an immediate cessation. At the same time, she has condemned in the “strongest terms” Israeli strikes on Lebanon, without fully acknowledging that they have been targeted against Hezbollah infrastructure and operatives. She mentions in passing that Hezbollah should be disarmed.

Yet both leaders failed to address just how Hezbollah can be disarmed — which is the central question. Statements that Hezbollah “should” be disarmed are nothing but empty words.

When dealing with absolutist religious ideologies, diplomacy is not necessarily a strength. It can become a vulnerability — exploited by those who understand that the Western aversion to conflict can itself be weaponized.

The Israel-Lebanon talks are signs of progress. But progress without power is terribly fragile. And as long as Hezbollah remains armed and entrenched, hope is a dangerous strategy.

Justin Amler is a policy analyst at the Australia/Israel & Jewish Affairs Council (AIJAC).

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Israel Must Stop Handing Victories to Its Critics

A general view shows the plenum at the Knesset, Israel’s parliament, in Jerusalem, May 29, 2019. Photo: Reuters / Ronen Zvulun.

Are some of Israel’s own decisions undermining its future?

No one who cares about Israel wants to ask that question. No one who understands Jewish history, regional reality, or the relentless threats Israel faces wants to even entertain it. Yet concern is growing among many who support Israel deeply and sincerely. They are not questioning Israel’s right to exist — but they are questioning if Israel’s actions are harming the Jewish State in the long run.

Let me be clear from the start: Israel has every right to exist. Israel has every right to defend its citizens. Israel has every right to confront terrorism and prevent those who openly seek its destruction from succeeding. In a region where genocidal rhetoric is still common, self defense is not optional. It is essential.

But rights alone do not guarantee wisdom. A nation can be morally justified and strategically misguided at the same time.

Recent events surrounding attempts to breach the Gaza maritime blockade offer a telling example. Many of the activists involved are not neutral humanitarians. Some seek spectacle more than solutions. They understand that confrontation with Israel generates headlines and outrage, and that images travel quickly across the world. Provocation is often the point.

Yet Israel too often responds in ways that hand these provocateurs exactly what they want.

Stopping a vessel at sea may secure an immediate tactical objective. But if the result is another cycle of global accusations, another flood of hostile coverage, and another round of diplomatic damage, then a narrow operational success becomes a strategic failure.

Israel frequently wins the immediate encounter while losing the larger narrative.

That problem extends well beyond maritime incidents.

Many people around the world defend Israel in increasingly hostile environments. Diaspora Jews face intimidation on campuses and in public life. Christian allies speak out despite social pressure. Non-Jewish advocates challenge lies, distortions, and double standards at personal cost. They write, donate, organize, and absorb abuse.

Too many feel taken for granted.

Allies matter. Gratitude matters. Communication matters. Nations under pressure cannot afford to neglect those who stand with them. Support should not be treated as automatic or endless. It must be nurtured.

Another issue that troubles even committed supporters is the use of administrative detention and other extraordinary emergency powers. Israel undeniably faces real security threats. Some dangers cannot be handled through ordinary methods alone. But emergency measures that become routine create a moral and political burden.

When people are held for long periods without normal judicial processes, Israel’s critics seize on every case. More importantly, genuine friends of Israel become uneasy. They ask whether a state founded as a refuge for a persecuted people is drifting from the democratic principles it was meant to embody.

There is also a message for ordinary citizens in Israel — especially those on the far right.

Israel is judged by a harsher standard than most nations. That reality is unfair, often hypocritical, and sometimes openly antisemitic. But it is reality nonetheless. Every act of racist violence, every attack on innocent civilians, every mosque vandalized, every tree burned, every mob chanting hatred, every soldier filmed humiliating noncombatants without cause becomes a global symbol.

One reckless act by one person can damage an entire nation.

Israel does not have the luxury of indiscipline. It is not a quiet country insulated by geography and history. It carries the security of millions of Jews. It carries the memory of exile and extermination. It carries the burden of proving that Jewish sovereignty can be both strong and just.

That requires more than military power. It requires discipline, humility, gratitude, legal integrity, and strategic patience.

Israel’s enemies would love nothing more than to see the Jewish State become isolated, angry, careless, and morally confused. Their greatest victory would not come on the battlefield. It would come if Israel helped destroy its own legitimacy.

The answer, then, is not despair. It is course correction.

Think carefully before reacting. Think strategically before escalating. Think morally before normalizing emergency measures. Think politically before alienating allies.

Israel was built through courage, sacrifice, and vision. It should not be weakened by avoidable mistakes.

The gravest danger to Israel may not come only from those who seek to destroy it from without. It may also come from forgetting how to preserve itself from within.

Sabine Sterk is the CEO of Time To Stand Up For Israel.

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