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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.”


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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My hopes for the rabbi who envisions my defeat — and for a better Jewish future

Dear Rabbi Cosgrove,

Thank you for your letter this week. Although you envision my electoral defeat two years from now, I recognize that it comes from a place of genuine concern, for me and for our shared future.

While your letter imagines my political fate, I think it’s really the future of the Jewish community that’s at stake. I know you care about the safety and thriving of Jews in New York City and beyond — so do I. We just have different ideas about how best to achieve it.

Two thousand years ago, Hillel prescribed us a challenge, in two questions: “If I am not for myself, who will be for me? But if I am for myself only, what am I?”

You believe that I am falling short on the first of Hillel’s questions. In our tradition of tokhecha, of accountability, I’ll sit with your criticism and take it seriously. I fight fiercely to keep our people safe, here in New York City, across the United States, and in Israel. I urged Mayor Zohran Mamdani to keep Jessica Tisch as NYPD Commissioner; to discourage the use of phrases like “globalize the intifada”; and to increase funding to combat antisemitism and other forms of hate. I’m pleased he’s done those things, and I’ll keep pushing for more.

I believe in the vision of a Jewish and democratic Israel, as imagined in its Declaration of Independence. I just don’t believe there can be democracy with occupation, or that Israel’s present actions in Gaza, the West Bank and Lebanon are consistent with that vision. On Election Night, I spoke about Israelis who provide protective presence in the West Bank, putting their lives on the line to help protect Palestinian neighbors from settler terrorism, as heroes whose courage I hope to emulate. And I pleaded with people not to use “Zionist” as a slur.

But even if I were an anti-Zionist, I would still be deeply within Jewish tradition and values.

My son is named after Marek Edelman, a leader of the Warsaw Ghetto Uprising, and a Bundist (Jewish democratic socialist) who was not a Zionist. Albert Einstein and Judah Magnes, a leading American rabbi who moved to Israel in 1922, both worried presciently about the dangers of sovereignty in a “Jewish state” and preferred to imagine a bi-national one. Many Jews are rediscovering those traditions, and concluding that they fit better with the Jewish values they learned in Hebrew school.

Your efforts to define them, and me, outside the Jewish community, are dangerously short-sighted. Jews are not made safer by proscribing a particular vision of Israel as the price of full belonging, or by insisting on unconditional support for Israel while it commits human rights violations against Palestinians.

Like the Israeli human rights group B’tselem, Israeli-American historian and eminent Holocaust scholar Omer Bartov, and the Lemkin Institute — the legacy of the Polish Jew and Holocaust survivor who developed the term — I believe with great sadness that Israel’s destruction of Gaza meets the definition of genocide. But whether one uses the term or not, surely we can agree that the scale of Palestinian death and suffering should trouble every Jew. Our obligation is not to ignore it, or explain it away, but to reckon with it — and to change it.

You recently urged candidates for office seeking the Jewish community’s support to march in the Israel Day Parade. But if representing Jewish New Yorkers requires marching alongside Israeli Finance Minister Bezalel Smotrich, who has called for the ethnic cleansing of Palestinians, perhaps we should ask whether we’ve confused loyalty with moral leadership.

I believe that we need more attention to Hillel’s second question. Our tradition asks us never to become indifferent to the suffering of children. I cannot reconcile Israel’s killing of thousands of Palestinian children with the Judaism that shaped me — most deeply, with the idea that every one of them was created b’tzelem Elohim, in the image of God, just like my kids.

The future you imagine presumes that the greatest danger facing Jewish life is that Jews will leave Zionism. But it seems to me the real danger is that young Jews will conclude there is no room for them inside Jewish institutions unless they silence their conscience. A community cannot thrive if the choices it offers the next generation are hypocrisy or excommunication.

At the end of your letter, you welcome me “back,” presumably to a position of always defending Israel against its critics, insisting that Zionism is an essential part of every Jewish identity and refusing to be in political coalition with people who disagree.

I’d like to invite you forward, to a belief in shared safety, where we don’t compromise on anyone’s humanity.

Or, at least, I’d like to invite us together to attempt a more productive conversation, to continue a debate that Jews have been having for at least 2,600 years. You recently called for Jews “to avoid the reductive and destructive tactic of labeling people with whom we disagree either as self-hating Jews or colonialist aggressors.” Let’s model that together.

Our differing points of view represent a longstanding debate amongst our people about the best way to achieve safety and flourishing, for ourselves and our neighbors. There’s room to keep that debate going — through conversation and dialogue, not through exclusion and shaming.

The door is open, rabbi. Welcome forward.

The post My hopes for the rabbi who envisions my defeat — and for a better Jewish future appeared first on The Forward.

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After 4 years and a stubborn leak, a landmark mikveh is finally whole again

Unveiled in the suburbs of Boston more than two decades ago, the Jewish ritual bathhouse known as Mayyim Hayyim offers an intimate space for people of all genders to mark life’s transitions. The facility’s pair of pools beckoned thousands from miles around, effectively reinventing the ancient Jewish practice of mikveh immersion for the modern era.

Then one of the tubs sprung a leak that took more than an ordinary plumber to fix. Now, more than four years later, the mikveh itself has had a rebirth, with the reopening of the immersion pool on the building’s left side, restoring a source of strength in suburban Boston that has become a pillar of American Jewish life.

“It felt like we were cut off from a really important part of our space and our connectedness,” said Sarah Quiat, a mikveh guide at Mayyim Hayyim who has been guiding immersions for seven years. “Being able to give the immersee the option of the left pool in and of itself feels like a core part of how Mayyim Hayyim approaches mikveh. To be able to offer and facilitate the immersion that a person is looking for comes down even to the details of which pool is calling to you.”

Tucked into a butter-yellow, 19th-Century New-England-style home in Newton, Mass., Mayyim Hayyim, Hebrew for “living waters,” grew out of a vision developed by author Anita Diamant and collaborators affectionately known as the “Mikveh Mamas.”

The founders grounded Mayyim Hayyim in a desire to enrich ancient ritual with contemporary life and make it accessible to Jews of all identities and types of observance.

Since ancient times, traditional Judaism has called for married women to immerse themselves in a mikveh after their menstrual period or childbirth before resuming sexual relations with their husbands. In the 1970s, as the Jewish feminist movement began picking up speed, thought leaders including Diamant looked beyond the patriarchal origins of mikveh and sought to reimagine and reclaim it.

“We, as a Jewish community, had to do better,” Diamant said in an interview. “We needed a mikveh where everyone who entered felt welcomed and valued.”

Today, Mayyim Hayyim offers a wide range of non-traditional immersion ceremonies — including for gender transition milestones, survivors of domestic violence or abuse, or individuals recovering from long-term illness — in addition to more conventional ceremonies for occasions like b’nei mitzvahs, the High Holy Days, and conversions.

The pool’s restoration was made possible by a joint gift last year from Mikhveh Mama, Paula Brody, and her husband, Merrill Hassenfeld.

For their 20th wedding anniversary in 2004, the couple immersed in the waters on the house’s left-hand side.

But in February 2022, that pool sprung a leak, and the water level began declining at a rate of more than one inch per day. A leak of such magnitude rendered the pool not Kosher by halachic standards, forcing the organization to close the pool until further notice.

Contractors began work to diagnose the source of the leak. Then came another setback — the particularly frigid Boston winter of 2023. Burst pipes caused a major flood in the building. Now other repairs to the building had to be prioritized.

Brody and Hassenfeld had not been aware that the mikveh where they marked their 20 years of marriage was out of commission. Together, they donated the money to finance the restoration ahead of their 42nd anniversary on June 24.

Since then, members of an adult B’Mitzvah class from a local temple have sought the waters of the mikveh and, during Pride Month in June, Mayyim Hayyim and Keshet, an advocacy group for LGBTQ+ Jews, hosted an evening of affirming immersions for the queer community.

“It was always envisioned with the two pools,” Brody recalled. “When I realized that it had been dysfunctional, we really wanted to help.”

“It enables Mayyim Hayyim to be whole again,” she added.

Mia Peloquin traveled from Connecticut to immerse themself at Mayyim Hayyim last year to mark their conversion. In August, they will return with their friend who converted a year earlier. The pair will celebrate their conversion anniversaries together.

“I was actually surprised that the left pool was open,” Peloquin said. “We thought we would have to go in one after another, which would extend our trip in Massachusetts a bit longer, but finding out that the left pool was open was very exciting for us because we get to immerse at the same time.”

During the closure, the organization has been guiding immersions solely using the pool on the right side of the building. Even with one operational pool, more than 900 people visit Mayyim Hayyim for roughly 1,600 immersions annually, many hailing from the surrounding Boston area, while others plan international travel to experience the one-of-a-kind space.

In addition to increasing the organization’s capacity for immersions, having both pools back to full functionality allows for expanded partnerships with Jewish institutions.

Beginning in 2023, then-Brandeis student and Hillel Tfilah Coordinator Zac Gondelman saw the power of ritual immersion and identified a critical education gap on the subject among his peers.

“Reform Jews came into Brandeis feeling like there was a world of Jewish ritual and practice that they had never heard of or accessed or lived in,” he said. “And so, I thought there was no better way to bridge those things than to bring a whole bunch of college kids to the mikveh.”

Despite Mayyim Hayyim’s decreased capacity at the time, Gondelman helped organize an annual trip for Brandeis students each year ahead of the High Holidays. With the second pool now open, more students can participate.

Harvard Hillel recently organized a trip to the mikveh for graduating seniors to mark the completion of college.

Engaging with the community through the mikveh has long been central to Diamant’s founding vision for the space. In doing so, Mayyim Hayyim has helped the ritual expand and grow, and even interact with other ancient practices. In 2024, the North Shore Hevra, a Boston-based community of Jews seeking to revive Jewish death and burial rituals called tahara, began working with Mayyim Hayyim to offer mikveh immersions for its tahara leaders.

Linda Goodspeed, cofounder of North Shore Hevra, said a shared passion for breathing contemporary life into ancient practice helped forge a relationship between the two organizations. Now, tahara volunteers can receive a newly created immersion blessing before the High Holidays, one adapted ancient practice to prepare for another.

“They were really our mentors,” Goodspeed added.

That mentorship extends far beyond Boston. Through the Rising Tide Open Waters Mikveh Network, 39 facilities in the U.S. and an additional nine internationally draw on Mayyim Hayyim’s extensive training resources to prepare their guides to serve the local community and foster mikvehs around the world.

Rabbi Miriam Berger, founder of Wellspring, another pluralistic mikveh in the network located in London, England, considers Mayyim Hayyim to be “the mothership.”

“Judaism gifted us mikveh,” she said. “Mayyim Hayyim gifted it back to us.”

The post After 4 years and a stubborn leak, a landmark mikveh is finally whole again appeared first on The Forward.

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‘There’s nothing I can say to her’: Boulder attack survivors have words on antisemitism for Congressional nominee Melat Kiros

For Natalya Reznik and Ed Victor, Tuesday’s primary victory of Melat Kiros, now a Democratic congressional nominee for much of Denver, cut deep and took them back to the horrific first day in June 2025 when they attended an 18-minute protest walk to call for the release of hostages taken from Israel into Gaza on Oct. 7.

That day, Reznik, 54, and her husband carried posters of hostages Lior Rudaeff and Yair Yaakov whose bodies were later returned. As always, the mostly Jewish group of 28 walked quietly, letting their signs do the talking.

“Since 10/7 I was devastated. I expected people everywhere, not just in America, to take to the streets to put pressure on Hamas to release the hostages,” said Reznik who came to the U.S. 30 years ago from St. Petersburg, Russia “I was so naive — I really thought this was so horrific that it just couldn’t go unnoticed. But what I saw was the opposite — people took to the streets to protest Israel.”

Reznik didn’t hear a man shouting “Free Palestine” — others did — before she noticed her feet getting hot. She looked down to find much of her lower body on fire, likely from a Molotov cocktail. She rolled over on the grass to put them out. Another woman, Karen Diamond, was engulfed in flames.

Dressed up as a gardener so as not to be noticed in the park outside the Boulder County Courthouse, the attacker, Mohamed Soliman, 46, later told prosecutors he had researched “Zionist” events in the area.

But when a news anchor ahead of the primary asked Kiros whether the attack had been antisemitic, the former lawyer turned doctoral candidate drew a distinction between anti-Zionism and antisemitism. She tried to make the case that no one could presume Soliman’s motive.

“I don’t know what was in the heart of the perpetrator,” Kiros told a local Colorado station last month. “All I know is that he attacked innocent people because of what they might have believed. And I don’t even know what the people that were at that protest believed, too. In fact most of them were probably just there to ask that the people who were kidnapped on Oct. 7 be returned to their families.”

That logic found little purchase with Ed Victor, a resident of Louisville, Colorado, who had also been at the Boulder courthouse that day.

“You don’t have to look at his heart,” Victor said. “You can look at his actions.”

Soliman pleaded guilty to more than 100 felony charges in state court but not guilty to hate crime charges. He was sentenced to life in prison without the possibility of parole.

The success of Kiros, 29, a Democratic Socialist of America in her first run for public office, echoed the victories of DSA-backed candidates Darializa Chevalier and Claire Valdez in New York, who similarly drew a line between antisemitism and anti-Zionism. Like those candidates, Kiros has advocated for one state with equal rights for Israelis and Palestinians.

Reznik does not live in the deep-blue district Kiros will be favored to win in November, which represents the largest Jewish community in Colorado. But she said Kiros’ victory was the result of a callousness toward Jewish people that now defines the attitude of the general public.

“It’s an uncomfortable feeling,” said Reznik, a Russian Jewish immigrant. “This is not the country I came to 30 years ago. I no longer feel that people in Congress even hold the same values that I do.”

Reznik’s burns from the attack that day covered 40% of her legs and left arm. She spent one week in intensive care and another in the hospital recovering from surgery. It was in the ICU that she first encountered people online trying to downplay the attack as anti-Zionist rather than antisemitic – a discourse that seemed to legitimize violence against Jews and continued to unfold in the hours and days after the firebombing.

“They’re encouraging people who are antisemites, who are simply scum, to feel as political activists,” Reznik said. “They speak the language of the murderers.”

Kiros’ equivocating comments ahead of Tuesday’s primary divided Denver Jews, with one rabbi who described herself as a “liberal Jew” writing in the Denver Post that Kiros’ candidacy “scared her.” Another Jewish writer defended Kiros, arguing that the candidate’s criticism is directed at the Israeli government and military, not the Jewish people.

In an interview on CNN the day after her primary win, Kiros tried to allay fears, adding that the “conflation of the actions of the state of Israel and the Jewish people … is putting them at greater risk.”

“My commitment is to protecting the sanctity of human life and dignity and that includes combating the hate and the rising antisemitism that we are seeing,” she said.

But for the survivors of that day’s attack who heard Kiros’ equivocation ahead of the primary, it was hard not to feel fear – and fury. Reznik saw Kiros’ refusal to call the attack antisemitic as the height of hypocrisy.

“There’s nothing I can say to her,” she said, “because I know she’s one of the people who’s not listening.”

The post ‘There’s nothing I can say to her’: Boulder attack survivors have words on antisemitism for Congressional nominee Melat Kiros appeared first on The Forward.

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