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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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Exclusive: As Ceasefire Extended, Iranian Voice Describes Deepening Repression, Waning Hope Under Regime’s Grip
People attend the funeral of the security forces who were killed in the protests that erupted over the collapse of the currency’s value in Tehran, Iran, Jan. 14, 2026. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
As a fragile ceasefire halting the US-Israeli military campaign in Iran continues, some Iranians say the pause in fighting has not brought relief but rather fear that the regime is regaining strength while internal repression intensifies.
In western Iran, a former schoolteacher who asked to be identified as “Maddie Ali” for security reasons says the ceasefire has left many ordinary citizens feeling abandoned and exposed, watching authorities tighten control while hopes for meaningful change fade.
“People actually felt more hopeful when the war was ongoing. Now, with the ceasefire in place, many feel discouraged and disappointed about the future, which feels increasingly uncertain,” Ali told The Algeminer in an exclusive interview.
Ali lost her job after authorities imposed a nationwide internet blackout when fighting erupted earlier this year — a disruption that continues to shape daily life and restrict communication with the outside world, effectively cutting millions of Iranians off from independent reporting on the war and access to global news.
Internet access remains unstable across much of the country, forcing many people to rely on illegal black-market virtual private networks (VPNs) — tools that bypass government censorship — to stay connected beyond Iran’s borders, with access reportedly costing millions of tomans per gigabyte. (A toman is one-tenth of the rial, the official currency of Iran.)
Iran’s nationwide internet blackout has become the longest recorded of its kind, as authorities continue restricting access to the outside world in an effort to suppress internal opposition and silence domestic dissent.
Iranian authorities have even warned that citizens suspected of accessing the internet through VPNs could face arrest or imprisonment. According to state media reports, Iranian security forces have arrested several citizens in recent weeks for using the Starlink satellite internet system, which allows users to bypass state-controlled terrestrial infrastructure.
Human rights groups have warned that the regime repeatedly uses nationwide internet shutdowns as a tool to intensify its crackdown on opposition movements and conceal ongoing abuses from international scrutiny.
Ali said many people in Iran fear the ceasefire is giving authorities time to regroup and rebuild.
“People are deeply disappointed that the US and Israeli sides agreed to a ceasefire without taking the Iranian population into account,” Ali told The Algemeiner. “The regime has repeatedly proven its capacity to rebuild and recover time and time again.”
The US–Iran ceasefire, which took effect on April 8, was initially set to expire on Wednesday night if no agreement was reached. US President Donald Trump told Bloomberg on Monday that he was “highly unlikely” to extend the truce without a deal with Tehran.
“I’m not going to be rushed into making a bad deal,” the president said.
On Tuesday, however, Trump announced that he was extending the ceasefire indefinitely, to allow the two countries to continue peace talks to end the war.
In a statement on social media, Trump said he had agreed to a request by Pakistan, which has mediated the talks, “to hold our Attack on the Country of Iran until such time as their leaders and representatives can come up with a unified proposal.”
Noting Iran’s government was “seriously fractured,” Trump said the US military would remain ready and continue its blockade on Iranian ports but continue abiding by the ceasefire “until such time as [Tehran’s] proposal is submitted, and discussions are concluded, one way or the other.”
According to Ali, who spoke with The Algemeiner before Trump’s announcement, reconstruction efforts began quickly after the fighting stopped, even as widespread infrastructure damage remained and internal repression intensified.
“There is frustration that the ceasefire may help the regime recover,” she said. “They started reconstruction for damaged sites and internal repression is still going on.”
Ali also said security forces remain highly visible across the country, especially after a sweeping crackdown earlier this year following mass demonstrations.
“We don’t have an option to really be out on the streets right now. It is really hard because of what happened in January. People are too afraid,” she said, referring to the nationwide anti-government protests, which security forces violently crushed, leaving tens of thousands of demonstrators tortured, imprisoned, or killed.
Checkpoints and surveillance now shape daily movement across many areas of the country.
“There are security forces on the streets stopping people, checking phones to see who they have been in contact with and reviewing messages — and they even make arrests,” Ali said.
Despite the risks, Ali said frustration with the regime runs deep after years of sustained crackdowns and tightening control.
“Most Iranians want an end to this regime. People are exhausted after decades of repression, arrests, executions, surveillance, and control,” she said. “Everybody was waiting for Israel and the US to do something and help us.”
“At the same time, people don’t support war itself — they support removing the regime, which is deeply rooted throughout the country,” Ali continued.
She said many Iranians initially saw the outbreak of fighting as a rare opening for change after years of failed internal protest movements.
“When the war began, many people actually felt hopeful,” Ali told The Algemeiner. “It’s not that they didn’t try to overthrow the regime themselves before — they did. But nothing worked.”
Even those who opposed the war, she said, are not necessarily defending the government.
“Those who were against the war mostly believed it would not lead to real change in the end — not that they supported the regime,” she explained.
More broadly, Ali said many citizens viewed outside military pressure as a necessary catalyst rather than something they welcomed.
“For many Iranians, support for the US and Israeli strikes came out of necessity and exhaustion — not because they support war,” she said.
Despite significant leadership losses during the conflict, Ali said the regime’s structure remains deeply entrenched nationwide.
“The regime and its ideology are embedded at every level — in cities, towns, and institutions across the country,” she said.
“From what we can see, the system is still functioning almost completely intact,” she continued. “It remains coordinated at both the national and local levels, and internal repression is actually increasing.”
“It feels suffocating and extreme, but at the same time it isn’t surprising,” she added.
For some inside Iran, Ali said, this reality has reshaped how people understand the scale of effort needed to dismantle the regime’s entrenched security apparatus.
“People support Israel and the United States, but they also believe airstrikes alone are not enough,” she said.
“Many believe that only a military ground intervention with troops on the ground could remove the regime from its roots,” she continued.
At the same time, she said many Iranians feel especially frustrated by what they see as political solidarity between Muslim-majority governments and Tehran’s leadership rather than support for ordinary citizens.
“Just because a government presents itself as Islamist does not give it the right to repress dissidents and crush its own people,” she said.
“Many Muslim countries have continued to cooperate with this regime, shaking hands with a killer regime instead of standing with the Iranian people,” Ali added.
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Netanyahu heckled at Israel’s official Memorial Day ceremony as bereaved families grasp for comfort
(JTA) — TEL MOND, Israel — Thousands of Israelis gathered in cemeteries all over Israel to commemorate the nation’s fallen soldiers and terror victims on Memorial Day, as public mourning collided with political anger, fresh wartime uncertainty and the private aftershocks consuming bereaved families.
In a Memorial Day message to bereaved families, Prime Minister Benjamin Netanyahu also addressed the war against Iran and its Lebanese proxy Hezbollah, saying Israel has “already removed an existential threat.”
A short while later, President Donald Trump told CNBC’s Joe Kernan that he “expects to be bombing” Iran again if talks collapse ahead of Wednesday’s ceasefire deadline.
“We have returned all our hostages, struck our enemies hard, and made Israel a nation stronger than ever before,” Netanyahu said at an official Memorial Day ceremony at Mount Herzl in Jerusalem.
His comments prompted a heckler in the crowd to yell out, “Some of them died in tunnels,” in reference to the Israelis kidnapped to Gaza by the Hamas terror group and held underground.
Skirmishes broke out during a speech by MK Ofir Sofer, of the far-right Religious Zionist party at the Kiryat Shaul military cemetery in Tel Aviv, when attendees attempted to snatch signs held up by protesters that read “Government of death” and “I refuse to hear words of comfort from a government of criminals.”
At a cemetery in Tel Mond, Eyal Golan, whose sister Shirel died by suicide on her 22nd birthday, a year after surviving the Nova massacre near the Gaza border, also had harsh words for the government.
Reflecting on Knesset debates he attended after his sister’s death, as he pushed for a law in her name to provide unlimited, comprehensive mental health care to victims of terror, Golan said he was furious at what he described as the performative behavior of politicians from both the coalition and opposition.
“Off camera, they speak to each other normally,” he said. “But the moment the cameras turn on, it’s showtime. They fall into their roles, shouting and attacking each other. I’m sitting there thinking, how can this be real?”
“Instead of coming together, they just deepen the divide,” he said, but he credited two Knesset members from opposite sides of the political aisle — Moshe Gafni of United Torah Judaism and Merav Michaeli of Labor — with taking up the cause and advancing the legislation.
Eyal and other members of his family say the government failed Shirel as she grappled with acute PTSD in the months after the attack. Now advancing the bill, he said he hopes it will spare other families the same fate.
“The whole point of my crusade is to save others. No one will be able to bring back my sister. If I’m able to save one more soul, I’ve done my job,” he said.
The legislation, known informally as the Shirel Golan law, passed a preliminary reading in January 2026.
Sitting close to his daughter’s grave, covered in flowers, wreaths and candles, Eyal’s father Meir said he has fallen into a strange nightly ritual. Every night, he wakes up at 3 a.m. and makes himself a cup of coffee. He opens the smart TV to her YouTube account and for an hour or so watches the videos she had liked and subscribed to, including trance music emblematic of the Nova scene. At 4 a.m., he returns to bed.
“As soon as I turn it on, it says, ‘Hello Shirel, welcome back,’” Meir said, adding that it gives him a measure of tranquility, as if his daughter “is still around.”
Later, as Eyal made the 45-minute drive back to his home in the central Israeli city of Holon, he described the journey as the emotional hinge between mourning and the return to ordinary life.
“It’s a kind of magic hour during which I store the grief of the day in a box in my mind,” he said. “By Independence Day, I’ll go back to my main role, being a father to two daughters.”
He added, “That journey is a microcosm of Israeli society.”
Meir’s late-night visits to his daughter’s digital world are part of a wider private language of mourning that has taken hold among bereaved Israeli families, many of whom continue to reach for their dead through screens. On phones across the country, especially on the popular messaging platform WhatsApp, parents and siblings keep sending messages to loved ones who were killed, writing as if the conversation never ended. The messages, some of which were recorded in a special Memorial Day project by the Ynet news site, come at unguarded moments, during a football game, before a birthday, or in the middle of the night.
“What a goal, Yahav,” one father, Nir Maayan, wrote to his son, Yahav, who was killed in Gaza in January of last year.
Texting his son from his graveside, Nir wrote: “There are days of collapse, of longing, of not being able to accept reality. Moments when I try to imagine your final moments. What did you think? What did you feel? Answers I will never know. So I just rest my head on you, and somehow you comfort me and hold me. Someone is watching over me from above.”
“Tomorrow is your birthday, send mom a message,” a sister wrote to her deceased brother.
“The sky is beautiful today,” another wrote.
Dorit Ron keeps on texting her son Itai, who was killed on Oct. 7 at the Nahal Oz base near the Gaza border. “I expect an answer, a sign that he’s okay and with his father,” she said, according to the report. “Even though I know he won’t reply, to me he’s alive, just nearby, in another dimension.”
The post Netanyahu heckled at Israel’s official Memorial Day ceremony as bereaved families grasp for comfort appeared first on The Forward.
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Israel jails soldiers who smashed Jesus statue in Lebanon, installs a new one
(JTA) — An Israeli soldier who bludgeoned a statue of Jesus in southern Lebanon and another soldier who photographed the act have both been dismissed from combat duty and sentenced to 30 days in military detention, the Israeli military said on Monday.
“The IDF expresses deep regret over the incident and emphasizes that its operations in Lebanon are directed solely against the Hezbollah terrorist organization and other terrorist groups, and not against Lebanese civilians,” the IDF said in a statement.
The military also announced it had replaced the damaged statue with a new one “in full coordination with the local community of Debel in southern Lebanon.” The town is a Christian enclave within a region that is a Hezbollah stronghold.
A short while ago, in full coordination with the local community of Debel in southern Lebanon, the damaged statue was replaced by IDF troops. The Northern Command worked to coordinate the replacement of the statue from the moment it received the report of the incident.
The IDF… pic.twitter.com/nGh1s1iia1
— Israel Defense Forces (@IDF) April 21, 2026
Photos of the incident, which depicted the soldier striking an overturned Jesus statue, were quickly condemned by Israeli Prime Minister Benjamin Netanyahu and the IDF as they spread on Sunday.
By Monday, a letter condemning the act had drawn over 80 signatures by prominent Jewish leaders, including former Israeli cabinet minister Michael Melchior; American antisemitism activist Shabbos Kestenbaum; and Orthodox rabbis in Israel and the United States.
“This act is a chillul Hashem — a desecration of God’s name,” the letter said. “It is an affront to the ancient Christian communities of the Middle East and to Christians all over the world. It is a vile betrayal of the Jewish values upon which the State of Israel was founded. And it is a wound inflicted upon the fragile Jewish-Christian friendship that is more important than ever.”
The announcement of the punishment comes as the IDF said it was probing an incident in the West Bank in which a reservist soldier reportedly killed two Palestinians, aged 14 and 32.
The post Israel jails soldiers who smashed Jesus statue in Lebanon, installs a new one appeared first on The Forward.