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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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The Holocaust Torah that survived a Mississippi synagogue fire was brought there by the state’s only survivor
When firefighters cleared Beth Israel Synagogue after an arson attack this month, the library floor was slick with water and ash. Prayer books lay swollen and blackened. Smoke clung to the sanctuary walls.
Two Torah scrolls burned. A third Torah did not.
That Torah, displayed for decades in a glass case near the front of the synagogue, survived unscathed. Its presence at Beth Israel was not incidental. It was brought to Mississippi by Gilbert Metz, the state’s only concentration camp survivor — a man who retrieved it from Europe and brought it to the American South. It, too, had survived the Nazis.
“The million dollar question is: How in the hell did he get to Mississippi?” his grandson, Joseph Metz, recalled in an interview on Tuesday.
From Auschwitz to Jackson
Gilbert Metz was born in 1929 in Alsace-Lorraine, France. At 13, the family was forced into hiding. When people fled Nazi Germany, they often gathered silver or jewelry. Gilbert’s mom packed her prayer books and Rashi commentary instead. She had taught her son Hebrew and Talmud, and she refused to leave those books behind.
They snuck back and forth to their summer home in northeastern France, but were eventually captured by the Nazis and sent to an internment camp. From there, a 14-year-old Metz and his family were sent to Auschwitz. His mother and 10-year-old sister were murdered in the gas chambers shortly after their arrival. His father later met the same fate.
Metz survived multiple concentration camps, including Auschwitz and Dachau, and was liberated by American troops in April 1945. He was eventually bar mitzvahed after the Holocaust at 16, a delayed rite marking a childhood interrupted and then resumed.
Relatives who had settled in Mississippi sponsored Metz to come to the United States. He finished high school in Natchez, attended Tulane University, and served in the U.S. Army during the Korean War — at one point having to reapply for citizenship after being deployed overseas.
He eventually moved to Jackson, where he raised a family and became a traveling salesman before co-founding Metz Industries, a wholesale lingerie business that sold brassieres, hosiery and feather boas to stores across the region — the work of an ordinary American life rebuilt mile by mile. He and his wife, Louise, were married for more than 50 years.
Bringing the Torah to Mississippi
In 1992, Robert Berman, a longtime congregant and former Beth Israel president, heard about an international effort to restore and redistribute scrolls damaged, desecrated or orphaned during the Holocaust. He and his sisters, Joan and Brenda, along with their families donated the funds to acquire one. Shul leaders decided there was only one person who should retrieve it.
Metz and his son, Lawson, traveled to London to bring the Torah back to Jackson. At a restoration warehouse, he was shown piles of scrolls — some burned, some torn, some riddled with bullet holes — many painstakingly pieced together from fragments. They chose a Torah rescued from Prague and took turns carrying it on their laps during the international flight.
Other Torahs rescued from the Holocaust made similar southern journeys, to congregations in Alabama, Louisiana, and Tennessee. Joseph Metz said his grandfather felt honored to be the one chosen from Beth Israel to collect the Torah, and that bringing it to Mississippi was closure for him — a full-circle moment.
A welcoming committee from the shul — including Berman, the rabbi and others — greeted the Metzs and the Torah at Jackson’s airport. “They sang prayers,” recalled Berman, now 94.
Beth Israel held a dedication ceremony at the synagogue and the Torah was installed in a glass case near the front doors, where it remained for decades. The words “Memory sustains humanity” is etched across the top of the case. Next to it hangs a photograph of Metz as an adult wearing the yellow star he was forced to wear under Nazi rule.
The scroll is displayed unfurled to a chapter in Exodus that comes after the Red Sea has closed behind the fleeing Israelites and before the Ten Commandments are given — a narrow span of time when survival has been achieved but meaning has not yet arrived. The scroll has remained that way for years, suspended between catastrophe and covenant.
“The congregation understood exactly whose story that Torah represented,” said Stuart Rockoff, a historian and longtime member of the 165-year-old Beth Israel. “This was a synagogue with one Holocaust survivor.”
Behind its building, Beth Israel also maintains a Holocaust memorial garden, dedicated to Metz and to Gus Waterman Herrman, a U.S. Army officer from Mississippi who fought in Europe during World War II and later became a philanthropist. The garden, which features stained-glass sculptures and is used for Yom HaShoah commemorations, was not damaged in the fire.
Berman’s daughter, Deborah Silver, had her bat mitzvah and wedding at the synagogue. She’s now a jazz singer, nominated for a Grammy this year, and plans to perform charity concerts in New York City and Jackson to benefit the shul. “We will be back,” she said, “and we will recover.”
Surviving another act of antisemitism
Saturday’s fire at Beth Israel is being investigated by federal authorities as a possible hate crime. A local teen, Stephen Spencer Pittman, confessed to igniting the blaze.
The bulk of the damage was concentrated in the library and administrative offices, which are also home to the Institute of Southern Jewish Life. It’s the same part of the building targeted in a 1967 Ku Klux Klan bombing.
After the fire, the congregation moved the Torahs to the nearby Northminster Baptist Church, which offered its space. There, five Torah scrolls from the sanctuary were carefully unfurled and laid out across long tables, allowing soot and smoke to dissipate.
On the advice of a sofer, a ritual scribe, the Holocaust Torah was not unrolled.
“It’s extremely delicate,” said Sarah Thomas, Beth Israel’s vice president. She said it appeared to have no visible damage and is now wrapped and stored for safekeeping until the congregation is able to move back into the building.
The Torah’s survival can be explained without invoking a miracle: it was protected by its glass case and by where it stood. Still, for those who know its history, the moment carried weight.
What survives
Gilbert Metz spent decades speaking publicly about his Holocaust experience. His oral testimony is preserved in Holocaust archives, and his story has been taught in schools across Mississippi.
That inheritance was also ritual: For decades at Beth Israel, the shofar on the High Holidays was blown by Metz’s son, Lawson, and later by his grandson, Joseph.
Joseph Metz — now the president of the Jewish federation in Mobile, Alabama — has written a book about his grandfather’s survival, Behind the Silent Doors — a phrase Gilbert used to describe the gas chambers. Joseph regularly appears at Holocaust remembrance events and in classrooms. When he does, he pins his grandfather’s yellow star to his jacket before he speaks — the same object that once marked Gilbert for death now marking the story as one that refuses to disappear.
Metz, who died at 78 in 2007, bore the tattooed number the Nazis assigned him at Auschwitz for the rest of his life: 184203. Joseph and his sister, Caroline, each later chose to replicate the number on a tattoo of their own, as an inheritance. He said his grandfather survived so the story would not end with him, but be carried forward.
The Torah Metz carried across an ocean — and across a lifetime — remains.
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This California synagogue was just vandalized with anti-Zionist graffiti, one year after being destroyed by wildfire
(JTA) — The remains of a synagogue in southern California destroyed in last January’s Eaton wildfire were vandalized over the weekend with anti-Zionist messages.
The rabbi of the Pasadena Jewish Temple and Center and the Anti-Defamation League decried the vandalism as antisemitic.
“The vandalism of the Pasadena Jewish Temple and Center is antisemitism — full stop,” ADL Los Angeles senior regional director David Englin said in a statement. “This was a deliberate act of hate meant to intimidate a Jewish community already rebuilding after last year’s fire, and it comes at a time when antisemitism is already at unprecedented levels in California and nationwide. Targeting a synagogue is simply unacceptable and represents an attack on our entire community.”
Photographs of the graffiti showed that it was scrawled in black spray paint on an exterior wall fence and read “RIP Renee” followed by “F— Zionizm” [sic].
This is the remaining outside wall of the Pasadena Jewish Temple and Center. The Temple burned down last year in the Eaton fire. Intersectionality in all its glory. pic.twitter.com/4Z3CbfdUVl
— Gregg Mashberg (@gregg_mashberg) January 12, 2026
The first words appeared to be a likely reference to Renee Good, the 37-year-old unarmed Minneapolis resident shot whose killing by Immigration and Customs Enforcement is igniting a nationwide spate of anti-ICE activism.
Anti-Zionist graffiti has been painted on synagogues around the country over the last two years amid a spike in anti-Israel sentiment during the war in Gaza.
The vandalism came days after congregants from the Conservative synagogue gathered at the burnt site of their spiritual home to commemorate one year since the wildfire tore through their synagogue. Dozens of members also lost their homes or were forced to evacuate due to last year’s fire, which was the second-deadliest in the state’s history.
The vandalism also came a day after an arson attack at a Mississippi synagogue that had been bombed by the Ku Klux Klan in 1967 in retaliation for the rabbi’s involvement with civil rights activism. The man charged with the crime said he targeted that synagogue due to its “Jewish ties.”
No suspect has yet been named in the Pasadena vandalism, which the Altadena station of the Los Angeles County Sheriff’s Department first received a call about on Sunday at 9 a.m.
“Acts of antisemitism and hate have no place in our diverse communities,” Altadena Station Captain Ethan Marquez said in a statement. “Crimes motivated by bias impact far more than a single victim, they harm the sense of safety and unity of our entire community. The Los Angeles County Sheriff’s Department takes all hate-motivated incidents seriously and is committed to thoroughly investigating these acts and holding individuals accountable. The community of Altadena has endured significant hardship over the past year and acts of hateful vandalism will not be tolerated.”
Detectives with the department’s Major Crimes Bureau will be taking over the investigation, the Altadena station said in a statement.
During the fire recovery process, PJTC, a century-old congregation, welcomed a new senior rabbi, Joshua Ratner, a former lawyer who became the synagogue’s permanent religious leader in August.
A representative from the synagogue did not respond to a request for comment. But in an email to congregants, Ratner described the vandalism as “hateful and antisemitic.”
“It was devastating in many ways,” Ratner said about the graffiti to The New York Times. He also told the newspaper that in his prayer for the dead over the weekend’s services, he had included Renee Good’s name.
Local political figures joined in condemning the vandalism.
“I am horrified by the vandalism of the Pasadena Jewish Temple and Center, especially coming just days after we marked the one-year anniversary of the Eaton Fire that tragically destroyed its entire campus,” Rep. Judy Chu, a Democrat who represents the district in Congress, shared on X. “For over a century, the Pasadena Jewish Temple and Center has been a beloved community institution and safe haven for our Jewish neighbors and loved ones. I stand with the congregation and the Jewish community as we await the results of the Los Angeles County Sheriff’s Department’s investigation. Hate has no place in the San Gabriel Valley.”
The Jan. 5 commemoration was the first time most congregants had been back to their synagogue building since last the fire. For the past year, services have been held in a neighboring church; Hebrew school services have also been held offsite. PJTC is home to about 450 member families, mostly from Pasadena and neighboring Altadena.
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Australian writers’ festival collapses — and apologizes — after boycott over disinvited Palestinian activist
(JTA) — The organizers of an Australian literary festival pulled the plug on this year’s event on Tuesday, after nearly 200 authors said they would boycott over the disinvitation of a Palestinian-Australian author and activist who has justified “armed struggle.”
The board of the Adelaide Writers’ Week announced last week that they had disinvited Randa Abdel-Fattah, saying they felt her presence “would not be culturally sensitive” in the wake of the Bondi massacre, where 15 people were killed by two gunmen at a Hanukkah event.
Following the board’s announcement, roughly 180 of 240 writers slated to appear at the festival announced they were boycotting it over the decision, including British author Zadie Smith and former New Zealand Prime Minister Jacinda Ardern.
On Tuesday, the festival’s board put out another statement, apologizing to Abdel-Fattah, announcing that all but one of its members had resigned and canceling the writers’ week altogether.
“We also apologise to Dr Randa Abdel-Fattah for how the decision was represented and reiterate this is not about identity or dissent but rather a continuing rapid shift in the national discourse around the breadth of freedom of expression in our nation following Australia’s worst terror attack in history,” the statement said.
Abdel-Fattah rejected the apology in a statement on X.
“I refuse and reject the Board’s apology. It is disingenuous. It adds insult to injury,” she said. “The Board again reiterates the link to a terror attack I had nothing to do with, nor did any Palestinian. The Bondi shooting does not mean I or anyone else has to stop advocating for an end to the illegal occupation and systemic extermination of my people — that is an obscene and absurd demand.”
While the board did not cite specific statements by Abdel-Fattah in its initial decision, Australian Jewish groups have called for her exclusion from public appearances in the past, citing a March 2024 post on X where she wrote that “armed struggle is a moral and legal right of the colonised and brutalised.”
Jewish Community Council of South Australia public and government liaison Norman Schueler, who called for Abdel-Fattah’s removal in a letter to the festival’s organizers, condemned those that boycotted the festival.
“I think for everyone who has dropped out that it’s rather pathetic because that means they agree with what Dr Fattah is on about… Namely, that Israel should not exist,” Schueler told The Adelaide Advertiser.
The dustup comes as Australia’s parliament prepares to consider harsher speech laws devised in the wake of the Bondi massacre.
Louis Adler, a Jewish Australian and the director of Adelaide Writers’ Week, announced her resignation in an op-ed in The Guardian where she said the disinvitation of Abdel-Fattah “weakens freedom of speech and is the harbinger of a less free nation.”
“I cannot be party to silencing writers so, with a heavy heart, I am resigning from my role as the director of the AWW. Writers and writing matters, even when they are presenting ideas that discomfort and challenge us,” wrote Adler.
Another Jewish board member, Tony Berg, had announced his resignation in October, appearing to cite Abdel-Fattah’s invitation.
“I cannot serve on a board which employs a Director of Adelaide Writers’ Week who continues to deal with the board inappropriately and who programs writers who have a vendetta against Israel and Zionism,” wrote Berg, according to the Australian outlet InDaily.
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