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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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Dan Bilzerian wants to ‘kill Israelis’ and thinks Judaism is ‘terrible.’ Now he’s running for Congress.
(JTA) — Dan Bilzerian, the mega-influencer who’s spread conspiracy theories about Jews and said he wants to “kill Israelis,” is running for Congress.
Bilzerian registered this week to run in the Republican primary against the Jewish far-right firebrand Rep. Randy Fine in Florida’s sixth district. Bilzerian initially gained fame for his Instagram photos alongside bikini-clad women but has since become a vocal critic of Israel and Jews — and has repeatedly called Fine a “fat Jew” in the lead-up to his campaign launch.
In a TMZ interview after Bilzerian announced his candidacy, the outlet’s Jewish founder, Harvey Levin, questioned the influencer on whether his use of the phrase “fat Jew” was antisemitic.
“[Fine] literally talks about how Muslims are lower than dogs, so, is that Islamophobic?” Bilzerian shot back. Fine drew bipartisan criticism for his comments earlier this year.
“Yes,” TMZ’s Levin and Charles Latibeaudiere responded. (Bilzerian added that Fine “tweets that, and he’s a senator,” though Fine is actually a member of the U.S. House of Representatives who was formerly a state senator.)
Bilzerian responded to a follow-up question by denying that he’s antisemitic — and questioning the term “antisemitism” altogether, saying it’s been “hijacked to only talk about Jews.”
“No, I’m not antisemitic. I think that that’s kind of a made-up term, I think the Palestinians are the real Semites,” Bilzerian said.
“Was Hitler antisemitic?” Levin asked.
Bilzerian did not say.
“Like I said, the term is focused solely on Jews, but actual Semites are the Arabs,” he answered. “And Palestinians are Semites as well. They actually have more DNA lineage to that region than any of the Eastern European Ashkenazi Jews that have taken it from them.”
The comments were nothing new for Bilzerian, who has 30 million followers on Instagram and 2 million on X. He regularly tweets opinions like “Jewish supremacy is the greatest threat to the world today,” questions the accuracy of the statistic that 6 million Jews died in the Holocaust, and reposts clips of avowed antisemite Nick Fuentes.
But now, Bilzerian’s foray into electoral politics could serve as a test of the popularity of an emerging, anti-Israel faction within the Republican party headlined by figures like Tucker Carlson and Fuentes, who’ve espoused conspiracy theories about Jews.
Those figures’ opposition to the war in Iran have sped up their dissent from President Donald Trump. During the TMZ interview, Bilzerian said Fine should be tried for treason for putting “Israel before America,” and also criticized Trump for being “Israel first.” He has tweeted that Trump “needs to be impeached.”
(Ironically, Fine introduced a bill that would ban dual citizens from serving in Congress, and Bilzerian is a dual American-Armenian citizen.)
Bilzerian is not the only anti-Israel Republican challenger to Fine, a staunch Israel supporter who’s been backed by AIPAC and the Republican Jewish Coalition.
“I appreciate @DanBilzerian‘s zeal to take @RepFine out of Congress. I’ve been working tirelessly for one year on the same goal,” wrote Aaron Baker, who’s been endorsed by the Anti-Zionist America PAC. “I would however also appreciate if Dan ran for FL-16 much closer to where he grew up. Make @AIPAC spend $ defending more seats. Divide and conquer.” FL-16’s current representative, Vern Buchanan, was endorsed by AIPAC in 2024.
But Bilzerian, with his 29.6 million followers on Instagram and 2.1 million on X, brings a larger national audience to the congressional primary.
“I’d never heard of this guy before, until a couple of days ago, but having watched your interview, it’s clear that he simply doesn’t like Jews. In America you’re allowed to do that,” Fine said on a TMZ appearance following Bilzerian’s. But, he continued, “I don’t think it’s going to work out to become a congressman, having that perspective.”
Bilzerian gained many of his followers when he was the “king of Instagram,” posting photos of himself surrounded by scantily clad women, sports cars and with large guns. In June 2015, Bilzerian said he would be running for president, though by December he’d gotten behind the candidacy of Trump.
Before that, he’d served four years in the U.S. Navy starting in 1999, and dropped out of the University of Florida to play professional poker. His father, Paul Bilzerian, is a businessman who, as a corporate takeover specialist, was sentenced to four years in prison for federal crimes including fraud and criminal conspiracy.
In the months after Hamas’ Oct. 7 attack and the ensuing war in Gaza, Bilzerian’s social media presence began taking its current shape of focusing predominantly on Israel and, eventually, Jews.
“Do you think the Israeli attacks on Gaza are justified or f–ked up?” Bilzerian asked his followers on Nov. 6, 2023. By 2024, the occasional surveys he took of his followers became pointedly focused on Jews.
“Who causes the majority of the worlds problems,” he asked, with users overwhelmingly voting for the multiple-choice option “16 million Jews.”
In January 2025, Bilzerian asked his followers whether Hitler was a “good person,” a “terrible person,” or if they didn’t know. A third of the 178,000 voters said Hitler was a “good person,” and another 23% said they didn’t know.
Bilzerian laid out his views on Jewish people in a 2024 interview with conservative commentator Patrick Bet-David, during which he said Jews “knew about 9/11” and “had JFK assassinated.”
Later that year, conservative media personality Piers Morgan asked Bilzerian how many Jews he believed died in the Holocaust.
“I don’t know, but I would bet my entire net worth that it was under 6 million,” Bilzerian said.
According to FEC filings, Bilzerian’s campaign treasurer is Patrick Krason. Krason was also the treasurer for the short-lived presidential campaign of Ye, formerly known as Kanye West, another public figure who’s spread conspiracy theories about Jews.
Bilzerian has promoted the “Great Replacement” conspiracy theory, claiming that Jews control the media and are using that position to push an “anti-white agenda” and replace whites with non-white immigrants.
“It started with the jewish owned news stations telling us ‘white supremacy is the greatest threat to America,’” Bilzerian wrote last year. “Whites were replaced in movies & streaming networks. Then the Jewish exec run Blackrock forced DEI on all major corps.”
Bilzerian often cites passages from the Talmud to make claims about Jewish beliefs, such as that Jews approve of stealing and raping as long as the crimes are committed against non-Jews. Other figures like Candace Owens have similarly taken passages from the Talmud, but rabbis have criticized those figures for using quotes that are mistranslated and often taken out of context from the text, which includes centuries of rabbinic debates and is not a formal code of laws.
During a stream with the influencer Sneako, who has also spread antisemitic conspiracy theories, Bilzerian said he supports “exterminating Israel” and that he “would sign up tomorrow and go f—king put boots on the ground and go f—king kill Israelis.”
“Give me a rifle and send me the f–k over there,” he said, adding, “I truly believe that the majority of that country is evil.”
On Morgan’s show, Bilzerian said Judaism innately promotes “Jewish supremacy,” and pointed to the State of Israel as being the result of that ideology.
“Israel is a manifestation of that religion,” he said. “And I think that religion is terrible.”
This article originally appeared on JTA.org.
The post Dan Bilzerian wants to ‘kill Israelis’ and thinks Judaism is ‘terrible.’ Now he’s running for Congress. appeared first on The Forward.
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After AIPAC-backed primary loss, Tom Malinowski endorses rival who says Israel committed genocide
(JTA) — After Tom Malinowski narrowly lost a primary in which AIPAC spent $2.3 million against him, critics said AIPAC’s plan backfired as it had inadvertently boosted a candidate farther from its pro-Israel agenda.
Now, Malinowski has thrown his support behind that victor, the Bernie Sanders-backed progressive Analilia Mejia.
“A couple of months ago, Analilia and I were rivals for the Democratic nomination,” Malinowski said in a video posted on Thursday afternoon. “Together, we are here united as Democrats in common cause.”
The video, which featured a friendly Malinowski and Mejia seated next to each other, was released ahead of her special election next week, and emphasized the need for Democrats to “take back the House.” Neither politician mentioned Israel or AIPAC in the video, though both politicians slammed the lobbying group following their tight primary race.
After Mejia’s victory back in February, AIPAC brushed off criticism that its attack ads against Malinowski — who describes himself as “pro-Israel” but crossed the group’s red line of supporting conditions on military aid — inadvertently contributed to Mejia’s win. Mejia has been harsher in her criticism of Israel and, unlike Malinowski, refers to its war in Gaza as a “genocide.”
But Mejia, an AIPAC spokesperson said, was only nominated for a special election that would fill the seat vacated by Gov. Mikie Sherrill through the end of 2026.
“The real race for the full congressional term is in the June primary, and we’re going to take a close look at that,” said Patrick Dorton, spokesperson for AIPAC’s super PAC, the United Democracy Project.
But if AIPAC had its sights set on supplanting Mejia come June, those plans may have been complicated by her newfound support from Malinowski, a popular politician in New Jersey’s 11th Congressional District.
Meanwhile, on Friday morning, Mejia was endorsed by J Street, the liberal pro-Israel group that supports a growing number of candidates who back conditions on military aid to Israel. J Street’s president, Jeremy Ben-Ami, blasted AIPAC in a Substack column following the February primary. He also wrote positively about Malinowski, but did not mention Mejia in the column.
“I look forward to working in partnership in our shared commitment against antisemitism, bigotry and hate,” Mejia wrote, accepting J Street’s endorsement.
On Tuesday, Mejia appeared at Temple Ner Tamid, a Reform synagogue in Bloomfield, New Jersey, for a conversation with its rabbi about issues of Jewish concern including Israel and synagogue security. (Joe Hathaway, the Republican nominee, joined the congregation for a conversation the night before.)
“I’m running for congress to give every person in NJ-11 a voice – that’s why I’m committed to listening to folks from every corner of our community,” Mejia wrote after the event.
This article originally appeared on JTA.org.
The post After AIPAC-backed primary loss, Tom Malinowski endorses rival who says Israel committed genocide appeared first on The Forward.
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US Intelligence Indicates China Preparing Weapons Shipment to Iran
The Pentagon building is seen in Arlington, Virginia, U.S. October 9, 2020. Photo: REUTERS/Carlos Barria
US intelligence indicates China is preparing to deliver new air defense systems to Iran within the next few weeks, CNN reported late on Friday, citing three people familiar with recent intelligence assessments.
The network said there are indications that Beijing is working to route the shipments through third countries to mask their origin.
The US State Department, the White House, the Chinese embassy in Washington and China’s foreign ministry did not immediately respond to Reuters requests for comment.
Beijing is preparing to transfer shoulder-fired anti-air missile systems known as MANPADs, CNN said, citing sources it did not name.
The US and Iran are set to hold high-level negotiations on Saturday in Pakistan’s capital Islamabad, seeking ways to end their six-week-old war.