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With ‘Let It Be Morning’ and ‘Cinema Sabaya,’ Israeli filmmakers are winning awards for portraying Palestinian stories
(JTA) — Years ago, the Israeli filmmaker Orit Fouks Rotem took a class led by director Eran Kolirin, best known as the maker of “The Band’s Visit.” This month, movies by both filmmakers are getting theatrical rollouts in the United States.
On a recent Zoom call, Palestinian author Sayed Kashua joked: “Was that his class — how to use a Palestinian story?”
Kashua was smiling on Zoom as he said it — he is, after all, known for his often fatalistic sense of humor, particularly when it comes to the Israeli-Palestinian conflict. And the author had given his blessing for Kolirin to make an adaptation of his novel “Let It Be Morning,” and said he loved the final result.
But like most jokes, this one had a kernel of truth: Israel’s two most recent Oscar submissions, hitting New York’s Quad Cinema within a week of each other, both — to varying degrees — tell Palestinian stories.
“Let It Be Morning” is a dark comedy about an Arab Israeli village that has suddenly and with no explanation been cordoned off from the rest of the country by the Israeli military. This event forces its Palestinian residents, including a protagonist trying to return to his comfortable middle-class life in Jerusalem, to reckon with how their dignity as citizens has been denied to them by the mechanisms of the Israeli occupation. At the Quad, the film is accompanied by a retrospective of Kolirin’s work, including “The Band’s Visit,” the basis for the Tony Award-winning musical; the retrospective is sponsored by the Israeli consulate in New York.
The all-female cast of “Cinema Sabaya,” a mix of Jewish and Arab actresses, in a film directed by Orit Fouks Rotem. (Courtesy of Kino Lorber)
The following week will see the opening of Rotem’s film, “Cinema Sabaya.” It follows a group of eight women, some Jewish and some Arab and Palestinian, who bond with each other while taking a filmmaking class in a community center in the Israeli city of Hadera. Cast member Dana Ivgy, who plays the class’s instructor, told the Jewish Telegraphic Agency that the filming experience “felt like how living in Israel should feel,” adding, “We have more women in the film than in the Israeli government.”
Stylistically, the two films couldn’t be more different. “Let It Be Morning” is a tightly plotted narrative with boldly realized characters; almost all of its dialogue is in Arabic. “Cinema Sabaya” is a loose, heavily improvisational piece that is almost entirely set in one room, and is mostly in Hebrew (although in one tense early scene, the characters debate whether to conduct their class in Hebrew or Arabic). One is a dry, Kafkaesque satire; the other is an intimate, naturalistic drama.
But together, the films provide a snapshot of the delicate dance Israeli filmmakers must perform in the current climate. On the one hand, these art-house directors are being feted on the international stage for their empathetic storytelling that incorporates or even centers entirely on Palestinian characters. But on the other, they’re being attacked by government officials for their perceived insufficient loyalty — and their films’ very status as “Israeli” is being questioned, too, sometimes by their own cast and crew.
“Everyone can call it what they want,” Rotem said of her film. “I’m an Israeli and it’s in Israel, but I have partners who call themselves Palestinians, and some of them call themselves Arabs, and each one defined herself. I think it’s really how it should be.”
“A film does not have an identity,” Kolirin insisted in an interview with JTA. “It is a citizen of the screen.”
Eran Kolirin accepted the award for Best Director for “Let It Be Morning” at the 2021 Ophir Awards in Tel Aviv on October 5, 2021. (Tomer Neuberg/ Flash90)
Kolirin isn’t a fan of the label “Israeli film” in this case, even though that is how “Let It Be Morning” was categorized at its 2021 Cannes Film Festival premiere; its own press notes also list Israel as the “country of production.” That Cannes screening took place shortly after Israel’s deadly conflict with Hamas that killed more than 250 Palestinians in the Gaza Strip and around a dozen Israelis. The events turned Cannes into a political firestorm when the film’s Palestinian cast refused to attend the premiere.
“We cannot ignore the contradiction of the film’s entry into Cannes under the label of an ‘Israeli film’ when Israel continues to carry its decades-long colonial campaign of ethnic cleansing, expulsion, and apartheid against us — the Palestinian people,” the cast’s statement read in part.
“Each time the film industry assumes that we and our work fall under the ethno-national label of ‘Israeli,’ it further perpetuates an unacceptable reality that imposes on us, Palestinian artists with Israeli citizenship,” the statement continues, calling on “international artistic and cultural institutions” to “amplify the voices of Palestinian artists and creatives.”
Kolirin himself supported the cast’s action. He knew they were grieving over the outbreak of violence in Gaza and didn’t want to put themselves in a situation where “some politician is going to wave a flag over their head or whatever.”
What’s more, he said, the status of “Let It Be Morning” as an “Israeli” film, despite the fact that around half the crew was Palestinian, was not his decision: “The film was not submitted to Cannes as an Israeli film,” he said. “You know, you fill in the form: ‘Which were the countries that gave money?’” In this case, the answer was Israel and France.
Most of the cast later did not attend the Ophir Awards ceremony, Israel’s equivalent to the Oscars voted on by its filmmaking academy, where “Morning” won the top prize (which automatically made it Israel’s Oscar submission for that year). In solidarity at the awards, Kolirin read aloud a statement from his lead actress, Juna Suleiman, decrying Israel’s “active efforts to erase Palestinian identity” and what she called “ethnic cleansing.”
Orit Fouks Rotem (Courtesy of Kino Lorber)
“Cinema Sabaya” hasn’t played host to as much offscreen controversy, but its vision of Israeli multiculturalism is still inherently political. Rotem’s mother is a local government adviser on women’s issues in Hadera, and the film was inspired by her experience participating in a photography class designed to unite Jewish and Arab women. Rotem herself later led filmmaking classes in a similar vein as research for “Sabaya.”
In the film, Ivgy’s character, who is modeled on Rotem, instructs her class to film their home lives, while secretly hoping to make a movie from their efforts. When her desire to do so is revealed, the women in the class feel betrayed: They thought they were just making films for themselves, not for their stories to be told by someone else.
Similarly, Rotem said that working with Arab and Palestinian actresses made her “aware to the fact that I can’t really tell their story.” Her solution was to allow the performers — some of whom are well-known activists who had to think twice about appearing in an Israeli movie — to voice their own opinions, and to establish the necessary trust to allow them to be unscripted on camera.
She theorizes that “Cinema Sabaya” has been so well received in Israel because “it doesn’t say ‘occupation, occupation, occupation.’ It says ‘humanity,’ so people are less afraid.” (She also noted that, in real life, the women who attended her filmmaking classes bristled at her initial suggestion to make a documentary about them, telling her to fictionalize their stories instead — which she did.)
Lately the Israeli government has a tendency to view its filmmaking class as agitators unworthy of national support, particularly when they make films criticizing the occupation. Former Culture Minister Miri Regev often disparaged films she thought were bad for Israel, including celebrated international hits such as “Foxtrot” and “Synonyms.” Her current successor, Miki Zohar, has already threatened the makers of a new documentary about the West Bank city of Hebron, saying the movie smears the military and that the directors might have to return government funds.
In recent years, Israel’s culture ministry has pushed two new controversial proposals: a grant program earmarked for those who make films in settlements, which are considered illegal under international law; and a form pledging not to make films “offensive” to Israel or the military that filmmakers would be required to sign in order to apply for certain grants, which many directors have likened to a loyalty oath. For years, some of the country’s largest grantmakers have required applicants to sign a form promising to represent their projects as Israeli on the national stage.
There has also been an effort among some members of Prime Minister Benjamin Netanyahu’s new right-wing government to end funding to public broadcaster Kan, which the country’s film industry views as another attack on its free expression.
“Kan has all this dialogue,” Ivgy said. “It has Jewish and religious and Arab and Palestinian, for kids and for grownups. And nothing is taboo there. I feel that it’s very dangerous to close that option down.”
Many Israeli filmmakers are fighting back. Hundreds, including Kolirin and Rotem, have refused to sign the ministry’s pledge, and many have also protested the settlement grant program. Nadav Lapid, one of the country’s most celebrated and outspoken directors, harshly critiqued government restrictions placed on his own work in the 2021 drama “Ahed’s Knee,” which went on to win a special prize at Cannes.
Kolirin said he had recently been on a call with several Israeli filmmakers looking to further organize against artistic restrictions, and that it had given him hope. “I had this feeling of some optimism, which I didn’t have for a long time,” he said. But he didn’t mince words when discussing Israel’s new governing coalition, which he likened to “a circus of mad dogs unleashed.”
Rotem said that the current government is “very, very bad and scary,” but that it has only strengthened her resolve to make political films.
“For me, it’s also political to show women in Israel in a deep way: I mean Arabs and Jews,” she said. “Because I don’t think there are enough films that are doing that.”
For Kashua, a veteran TV writer and opinion columnist, the question of identity in Israeli and Palestinian filmmaking is even more pronounced. After a long career of trying to write about the Palestinian experience in Hebrew as a way of reaching Israelis, he left Israel for the United States in 2014, becoming discouraged by an incident in which Jewish extremists burned a Palestinian teenager alive as revenge after Palestinian terrorists kidnapped Israeli soldiers. Now based in St. Louis, he has worked as a writer and story editor on Israeli series that center on both Palestinian and Jewish stories — including the global hit “Shtisel,” which focuses on haredi Orthodox Jews, and its upcoming spinoff, along with “Madrasa,” a young-adult series about a bilingual Hebrew-Arabic school.
Israeli filmmakers choosing to center Palestinian stories can be its own radical political act, Kashua believes. He noted that the dialogue in “Morning” is almost entirely in Arabic, a language that Israel demoted from national language status in 2018 — doubly ironic as he had deliberately chosen to write his original novel in Hebrew.
“The idea that this film is ‘Israeli’ — it really contradicts the idea of Israel being a purely Jewish state,” Kashua said. He added that, while he had initially hoped a Palestinian director might have adapted his novel, he was ultimately happy with Kolirin’s approach.
“I truly love the movie, and it’s barely Orientalist,” he joked, echoing Palestinian-American intellectual Edward Said’s famous book about how a Western lens on Eastern cultures can be reductive and harmful. “Which is a big achievement for an Israeli filmmaker.”
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The post With ‘Let It Be Morning’ and ‘Cinema Sabaya,’ Israeli filmmakers are winning awards for portraying Palestinian stories appeared first on Jewish Telegraphic Agency.
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Qatar, Turkey Try to Circumvent Hamas Disarmament as Terror Group Escalates Crackdown in Gaza
Palestinians walk past the rubble of destroyed buildings, amid a ceasefire between Israel and Hamas, in Jabalia, northern Gaza Strip, November 6, 2025. Photo: REUTERS/Mahmoud Issa
As the United States pushes for the second phase of President Donald Trump’s Gaza ceasefire to begin, Israel is warning that Qatar and Turkey are trying to shield Hamas from disarmament as the Palestinian terrorist group seeks to reassert control over the war-torn enclave.
Qatar and Turkey have proposed alternatives to a central provision of Trump’s peace plan, according to Israeli media reports. Rather than requiring Hamas to disarm, Qatari and Turkish officials have pushed for the Islamist group either to hand over its weapons to the Palestinian Authority or place them in secure storage under international oversight.
As part of this plan, Qatar and Turkey are reportedly advocating a two‑year grace period during which Hamas could legally retain its weapons.
However, Israeli officials have rejected these options as unacceptable, arguing they would allow the terrorist group to maintain its influence in Gaza, which Hamas has ruled for nearly two decades.
Israel has made clear it will allow Hamas just a few months to give up its weapons, warning it will act unilaterally if the group is not disarmed promptly.
Turkey and Qatar, both longtime backers of Hamas, have been trying to expand their roles in Gaza’s post-war reconstruction, which experts have warned could potentially strengthen Hamas’s terrorist infrastructure.
Israeli officials have repeatedly rejected any Turkish or Qatari involvement in post-war Gaza.
The first stage of Trump’s peace plan, which took effect in October, included Hamas releasing all the remaining hostages, both living and deceased, who were kidnapped by Hamas-led Palestinian terrorists during their Oct. 7, 2023, invasion of and massacre across southern Israel. In exchange, Israel released thousands of Palestinian prisoners and detainees, including many convicted terrorists serving life sentences, and partially withdrew its military forces in Gaza to a newly drawn “Yellow Line,” roughly dividing the enclave between east and west.
Currently, the Israeli military controls 53 percent of Gaza’s territory, and Hamas has moved to reestablish control over the other 47 percent. However, the vast majority of the Gazan population is located in the Hamas-controlled half, where the Islamist group has been imposing a brutal crackdown.
The second stage of the US plan is supposed to install an interim administrative authority — a so-called “technocratic government” — deploy an International Stabilization Force — a multinational force meant to take over security in Gaza — and begin the demilitarization of Hamas.
As the international community works to implement phase two of the ceasefire deal, Qatar and Turkey are now insisting that Israel must withdraw from Gaza before Hamas can disarm — a demand Jerusalem vehemently opposes, warning it would give the terrorist group time to reassert full control over its half of Gaza and remove any incentive to disarm later on.
On Saturday, Qatari Prime Minister Mohammed bin Abdulrahman Al Thani said the international community has only achieved a “pause” in fighting, but not a full ceasefire, stressing that Israel would need to withdraw from the entire enclave to make it possible.
“A ceasefire cannot be completed unless there is a full withdrawal of the Israeli forces, there is stability back in Gaza [and] people can go in and out, which is not the case today,” Al Thani said during a press conference.
The Qatari leader also said that the mediating countries, including Turkey, Egypt, and the US, are “getting together in order to force the way forward for the next phase.”
However, Al Thani emphasized Qatar considers phase two to be “temporary,” arguing that addressing the immediate situation in Gaza alone is insufficient without tackling what he described as the underlying causes of the conflict.
“This conflict is not only about Gaza, but also the West Bank. It’s about the rights of the Palestinians for their state,” he said. “We are hoping that we can work together with the US administration to achieve this vision.”
According to the ceasefire plan, the Israeli army is required to withdraw further as the disarmament process unfolds. However, Israel has made clear that it will not pull back until Hamas disarms and other conditions are met.
“We will not allow Hamas to reestablish itself. We have operational control over extensive parts of the Gaza Strip, and we will remain on those defense lines,” Lt. Gen. Eyal Zamir, chief of staff of the Israel Defense Forces (IDF), said on Sunday. “The Yellow Line is a new border line, serving as a forward defensive line for our communities and a line of operational activity.”
Meanwhile, Turkish Foreign Minister Hakan Fidan said a credible Palestinian civil administration and a vetted, trained police force should be established before Hamas can disarm.
In a press conference, Fidan emphasized that without these conditions, expecting Hamas to disarm is neither “realistic nor doable.”
However, Hamas continues to reject full disarmament, saying the group is only open to storing or freezing its weapons in order to preserve “the Palestinians’ ability to defend themselves.”
“Hamas is willing to discuss these ideas in the context of a ceasefire or long-term truce within a political process that will lead to the establishment of a Palestinian state,” senior Hamas official Basem Naim said in a statement.
In Gaza, Hamas’s brutal crackdown has continued to escalate dramatically as the terrorist group moves to reassert control over the enclave and consolidate its weakened position.
Following the death of Yasser Abu Shabab, the leader of an armed anti-Hamas Palestinian faction, last week, Hamas has given militants a 10-day ultimatum to surrender in exchange for promises of amnesty, according to Israel’s Channel 12 and reports on social media.
Abu Shabab, a Bedouin tribal leader based in Israeli-held Rafah in southern Gaza, had led one of the most prominent of several small anti-Hamas groups that emerged in the enclave during the war that began more than two years ago.
He died last week while mediating an internal dispute between families and groups within the militia, dealing a setback to Israeli efforts to support Gazan clans against the ruling Islamist group.
Since the ceasefire took effect two months ago, Hamas has targeted Palestinians who it labeled as “lawbreakers and collaborators with Israel,” sparking widespread clashes and violence as the group moves to seize weapons and eliminate any opposition.
Social media videos widely circulated online show Hamas members brutally beating Palestinians and carrying out public executions of alleged collaborators and rival militia members.
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Ted Cruz Blasts Tucker Carlson for Plan to Buy Home in Qatar, Conduct at Doha Forum
Tucker Carlson speaks at Indiana University in Bloomington, Indiana, Oct. 21, 2025. Photo: Gage Skidmore/ZUMA Press Wire via Reuters Connect
The ongoing foreign policy feud between US Sen. Ted Cruz (R-TX) and anti-Israel podcaster Tucker Carlson continued over the weekend, with the legislator responding bluntly to the former Fox News host’s conduct and declarations at the Doha Forum in Qatar.
In reply to Carlson’s announcement on Sunday that he intended to purchase a home in Doha and reports of anti-Israel sentiments at the event sponsored by the country’s ruling monarchy, Cruz asked, “I thought fellatio was illegal in Qatar?”
Carlson had a sit-down discussion with Qatari Prime Minister Mohammed bin Abdulrahman bin Jassim Al Thani during the forum, during which the far-right media provocateur referenced widespread speculation that he was receiving Qatari money. Analysts have revealed in recent reports that Qatar, a longtime supporter of the Palestinian terrorist group Hamas and the Muslim Brotherhood’s global network more broadly, has spent tens of billions of dollars to influence US policy making and public opinion in Doha’s favor.
“I have been criticized as being a tool of Qatar, and I just want to say – which you already know – which is I have never taken anything from your country and don’t plan to,” Carlson said over the weekend. “I am, however, tomorrow buying a place in Qatar. I like the city; I think it’s beautiful. But also want to make a statement that I’m an American and a free man and I’ll be wherever I want to be. I have not taken any money from Qatar, but I have now given money to Qatar.”
Carlson later confirmed his views of Qatar to the Doha News, saying that “I like it here a lot.” He previously told his fellow far-right podcaster Steve Bannon that “they know I’m not working for Qatar.”
Cruz also responded to an X post by Carlson’s longtime business partner Neil Patel which had tagged him and featured the podcaster extending a middle finger with the text, “Greetings from the booodthirsty, terror-supporting slave state of Qatar.”
The senator affirmed the sarcastic taunt, writing, “Fact check: true.”
Conservative talk radio host Mark Levin, also a frequent critic of Carlson who has previously deployed the epithet “Qatarlson,” wrote on Monday that “Neil Patel was top policy adviser to Dick Cheney. Tucker Carlson worked for Bill Kristol. Now they’re both monarchists — Qatar first lapdogs for a terrorist dictatorship.”
The Al Thani family monarchy has run Qatar since the 1800s and has long supported the Muslim Brotherhood. The country has provided the Hamas-run government in Gaza with an estimated $1.8 billion and allows the terrorist group to host an office in Doha.
The US State Department has affirmed severe human rights abuses in Qatar, including “enforced disappearance; arbitrary arrest; political prisoners; serious restrictions on free expression, including the existence of criminal libel laws; substantial interference with the freedom of peaceful assembly and freedom of association, including overly restrictive laws on the organization, funding, or operation of nongovernmental organizations and civil society organizations; restrictions on freedom of movement; inability of citizens to change their government peacefully in free and fair elections; serious and unreasonable restrictions on political participation; extensive gender-based violence; existence of laws criminalizing consensual same-sex sexual conduct, which were not systematically enforced; and the prohibition of independent trade unions and significant or systematic restrictions on workers’ freedom of association.”
US Rep. Marjorie Taylor Greene (R-GA) defended Carlson from Cruz’s criticism.
“Canadian born Zionist Texas Senator Ted Cruz has lost his mind over Tucker Carlson,” Greene wrote Sunday on X. “You would think a United States Senator would be gravely concerned about affordability for Americans, the looming healthcare crisis, and actually passing appropriations with another government funding deadline coming end of January. But instead he’s gone mad with Tucker living rent free in his head.”
On Monday, Greene shared graphics on X critical of the American Israel Public Affairs Committee’s (AIPAC) support for President Donald Trump, writing, “I AM AMERICA FIRST. Thank you for your attention to this matter. -MTG.” One green image of a smiling, colorful Greene from “TrackAIPAC” affirms $0 in donations. This juxtaposes with a red image of a black and white, scowling Trump who has allegedly received over $230 million.
AIPAC, a prominent American lobbying group, seeks to foster bipartisan support for a strong US-Israel alliance.
In a Sunday interview with “60 Minutes,” Greene defended her decision not to vote for a measure condemning antisemitism, saying, “We don’t have to get on our knees and say it over and over again.”
Mark Dubowitz, CEO at the Foundation for Defense of Democracies, reflected on Carlson’s remarks in Doha by recalling the man’s father: “Watching Tucker in Doha, I think of Ambassador Richard W. Carlson — my former @FDD colleague and mentor. A true American patriot. A steadfast friend of Israel and the Jewish people. A fearless opponent of Islamists and Communists. May his memory be a blessing.”
While many observers both within and outside the American political right have expressed concerns about increases in antisemitic sentiment, Vice President JD Vance pushed back on the claim over the weekend.
“I think it’s kind of slanderous to say that the Republican Party, the conservative movement, is extremely antisemitic,” he said. “Do I think the Republican Party is substantially more antisemitic than it was 10 or 15 years ago? Absolutely not.”
Vance, who employs one of Carlson’s sons in his office and is reportedly friends with the podcaster, added, “I just don’t see the simmering antisemitism that’s exploding that some people claim.”
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French Nanny Faces Trial for Poisoning Jewish Family in Case Stirring Outrage Amid Rising Antisemitic Attacks
Sign reading “+1000% of Antisemitic Acts: These Are Not Just Numbers” during a march against antisemitism, in Lyon, France, June 25, 2024. Photo: Romain Costaseca / Hans Lucas via Reuters Connect
An Algerian woman residing illegally in France is set to stand trial on Tuesday on antisemitism-aggravated charges after admitting to poisoning the food of the Jewish family that employed her as a nanny, in a case that has intensified public outrage amid a surge of antisemitic attacks across the country.
The 42-year-old nanny, who has worked as a live-in caregiver for a family with three children aged two, five, and seven since November 2023, will now appear at the criminal court in Nanterre, just west of Paris, accused of poisoning them by contaminating their food and drinks with toxic substances, according to French media.
She is expected to face multiple charges, including “administering a harmful substance that caused more than eight days of incapacity for racial or religious reasons.”
The nanny, who has been living in France in violation of a deportation order issued in February 2024, is currently in custody and faces additional charges for presenting her employers with a forged Belgian identity document.
The shocking incident, first reported by Le Parisien, in January last year occurred just two months after the caregiver was hired, when the mother discovered cleaning products in the wine she drank and suffered severe eye pain from using makeup remover that had been contaminated with a toxic substance, prompting her to call the police.
After a series of forensic tests, investigators detected polyethylene glycol — a chemical commonly used in industrial and pharmaceutical products — along with other toxic substances in the food consumed by the family and their three children.
According to court documents, these chemicals were described as “harmful, even corrosive, and capable of causing serious injuries to the digestive tract.”
When the mother explained that only her family and the nanny had access to the house, she was promptly taken into police custody for questioning.
Even though she initially denied the charges against her, the nanny later confessed to police that she had poured a soapy lotion into the family’s food as a warning because “they were disrespecting her.”
“They have money and power, so I should never have worked for a Jewish woman — it only brought me trouble,” the nanny told the police. “I knew I could hurt them, but not enough to kill them.”
According to her lawyer, Solange Marel, the nanny has withdrawn her confession, maintaining that there is no proof of an antisemitic motive and that jealousy and a perceived financial grievance were the primary factors.
She also emphasized that the substances were found only in the parents’ drinks, not the children’s.
Yonathan Arfi, president of the Representative Council of Jewish Institutions of France (CRIF) — the main representative body of French Jews — is set to appear before the court on Tuesday as a witness for the family.
He described the case as “revealing of structural violence, whose singular severity should neither be minimized nor concealed.”