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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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From pop icon to outspoken Zionist: Boy George’s emotional visit to Nova
(JTA) — RE’IM, Nova Festival Memorial Site, Israel – Iconic 80s pop star Boy George is in Israel this week. He’s made all the usual stops on a celebrity visit: met with the president, placed a note in the Western Wall and, of course, performed two concerts. But it was his visit to the Nova Festival Memorial Site near Kibbutz Re’im on Tuesday that underscored the main reason for his visit.
An outspoken supporter of Jews and Israel, even as he has faced a backlash from within the music industry, the iconic ’80s pop star said that hearing about the massacre and seeing the site where more than 360 people were killed on Oct. 7, 2023 had only strengthened his convictions.
“I saw what happened on October 7… I was up very early, and I saw it, and it just horrified me,” Boy George told a press conference on Tuesday, following a tour of the memorial with former hostages, survivors and other members of the Tribe of Nova Community Association.
“But what horrified me more was hearing people that have no connection to what happened telling me it wasn’t true, that it was made up, and that I shouldn’t believe it,” he said.
Boy George, a British singer who achieved international fame in the 1980s with Culture Club and hits such as “Do You Really Want to Hurt Me?” and “Karma Chameleon,” holds a pioneering place in modern pop history. With his androgynous look, Rastafarian-inspired dreadlocks and oversized hats, the white singer challenged conventional ideas about gender and sexuality at a time when doing so could come at a cost.
He countered convention again in the wake of the Oct. 7 attacks, speaking out on behalf of Jews and Israel when parts of an entertainment industry were calling for boycotts and blacklists of Israeli performers and their allies.
Boy George, 65, told journalists in Israel this week that he had lost long-time friends over his position on Israel, but said he was not particularly troubled by it, because he felt he was doing the right thing.
“I feel odd being thanked for doing what’s just normal,” he said. “Music should make people feel safe, celebrated, and like they belong. That’s the music I want to make.”
The singer said some of the reactions to his support for Israel have been “shocking to me, but also a bit predictable.”
He said that the attacks against him have ranged from bashing his music to calling him “irrelevant,” and even accusing him of being a “Zionist.”
“Until I started getting called a Zionist, I hadn’t really explored what it meant, and then I was like, ‘well, I guess it must be,’” Boy George said. “In the end, I just put a thing up [on social media] saying, ‘I’m a Zionist, get over it.’”
Two incidents this year solidified his support for Jews and Israel. In April, he arrived in the London Jewish neighborhood of Golders Green and witnessed the aftermath of the stabbing of two Jewish men. He later went on British television, tearily condemning the attack and calling for support for “our Jewish community.”
In May, at a travelling exhibit about the Nova attack, he heard the testimony of a young survivor, May Hayat. The 33-year-old Tel Avivian witnessed the murder of two friends before Hamas terrorists set her free.
Moved by Hayat’s story, the singer wrote “We Will Dance Again,” a slogan he borrowed from the Tribe of Nova community. Released on July 26, its lyrics include, “you say genocide / I say war.”
“One of the things I’ve always hated doing is explaining why I’ve written something,” Boy George said of the song, which drew massive criticism from some in the music industry but has become an anthem for Israelis.
“Very often, what I write is sort of personal, a little bit surreptitious, secretive… but I’m afraid with ‘We Will Dance Again,’ there was no secrecy or subtext whatsoever,” he said.
“I kept hearing that word [genocide] over and over and over and obviously, I’ve done a bit of research on the word, and I know it wasn’t the right word and I felt, well, if it’s being bandied about by every single person that I speak to, then maybe I should put it in the song,” he said.
The singer also highlighted another line from the song: “If you’re ever confused / I stand with the Jews.”
The singer said he doubted the song would get airplay, “but it really wasn’t about that… it was about what do I need to do about what I feel deeply inside.”
Speaking to the Jewish Telegraphic Agency, Hayat said she was flattered that Boy George was inspired to write a song after hearing her story, but added that this was precisely why she now devotes her time to telling others what happened on Oct. 7.
“If I was saved and I am still alive, then I have to tell this story for myself and for those who can’t tell their story,” she said. The song “strengthens me in doing what I am doing.”
Boy George said that being at the site of the Nova festival was “very powerful.”
“Obviously, you can see there’s a lot of healing that’s gone on, and that’s really important because an outsider never knows what they’re supposed to feel,” he said, after touring the memorial, which includes photos of each victim, as well as tributes from friends and family.
Boy George was accompanied to the Nova site by Sylvan Adams, president of the World Jewish Congress Israel. Adams, together with the Museum of Tolerance Jerusalem and Live Nation Israel. Boy George was accompanied to the Nova site by Sylvan Adams, president of the World Jewish Congress Israel. Adams, together with the Museum of Tolerance Jerusalem donated 1,500 concert tickets to Nova survivors and bereaved families so they could attend Saturday night’s concert.
“At a time when too many international artists have chosen to boycott Israel or remain silent in the face of antisemitism, you chose to come,” said Adams. “You used your voice and your international platform to stand with the Jewish people, despite the threats and boycotts. That takes courage. And moral clarity.”
This article originally appeared on JTA.org.
The post From pop icon to outspoken Zionist: Boy George’s emotional visit to Nova appeared first on The Forward.
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Wisconsin referendum on freedom to worship fails at the ballot box
(JTA) — A Wisconsin referendum that would prohibit state and local governments from closing places of worship in response to a declared emergency was rejected in Tuesday’s election by 52% of voters.
The question was raised in response to the COVID-19 pandemic, during which places of worship were subject to public health orders restricting large gatherings. If approved, the Wisconsin Constitution would have gained language prohibiting the state to “order the closure of or forbid gatherings in places of worship in response to a state of emergency at the national, state, or local level, including an emergency related to public health.”
Critics said that the language of the referendum was vague because it did not define what a “place of worship” was, leaving uncertainty over whether it could encompass someone’s home in which religious services are hosted. The League of Women Voters of Wisconsin, which opposed the referendum, said the measure is a threat to public health. It added that the law as it stands does not “prevent any person from worshipping God, as such worship can and is practiced on an individual basis in one’s own home during an emergency.”
Rabbi Joel Alter, who leads Milwaukee’s predominant Conservative synagogue Congregation Beth Israel Ner Tamid, said that while he understands the concerns the referendum stemmed from, he voted to reject the prohibition. “I don’t think the state constitution is the way to respond to concerns that people have,” he said. “I would much rather see advisory panels and possibly legislators hold really thoughtful hearings and studies to make recommendations for the next emergency—whether it’s a health emergency or some other emergency—about how to handle houses of worship in the interest of public health.”
The Wisconsin Family Council, a conservative Christian organization, had advocated in favor of the prohibition, saying it would ensure “that your local church is never treated as ‘non-essential’ by the government again.” Other proponents, including a number of local churches, argued that places of worship are “lifelines” during times of crisis, and that closing them is a violation of religious freedom.
Other states—including Kentucky, Oklahoma, Florida and New Hampshire—have adopted similar protections, but the Wisconsin referendum would have offered stronger protections for churches, synagogues and other places of worship than other essential locations, such as schools or grocery stores. Texas adopted a constitutional protection against government restrictions on religious services in 2021.
Because the governor cannot veto a constitutional amendment, the Republican-run state legislature put forth constitutional amendments to bypass the veto of Gov. Tony Evers, who did not run for reelection. Evers vetoed a bill containing similar protections for places of worship in 2021. In addition to the religious freedom referendum, Republican lawmakers also introduced two others, one that would further limit the governor’s partial veto powers, which passed with 51% of voters favoring, and another that could restrict affirmative action and some diversity, equity and inclusion programs, which passed with 56% of the vote.
David Crowley, Democratic governor-elect, said he would vote “no” on all three questions.
This article originally appeared on JTA.org.
The post Wisconsin referendum on freedom to worship fails at the ballot box appeared first on The Forward.
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Wiener to hold Pelosi’s House seat after race in which both candidates attacked Israel
(JTA) — Democratic state Sen. Scott Wiener declared victory Wednesday in the midterm race against his Democratic rival to succeed U.S. Rep. Nancy Pelosi, who has represented San Francisco since 1987.
As of Wednesday, The Associated Press reported that Wiener had 55.5% of the vote compared with 44.5% for his opponent, San Francisco Supervisor Connie Chan, with 57% of ballots counted.
“I’m humbled to carry forward the powerful legacy of this seat,” Wiener wrote in a post on X in which he paid homage to Pelosi’s work on behalf of San Francisco and during her time as speaker of the House.
“Speaker Pelosi came to Congress to fight AIDS when too many wanted to look away, and she never stopped fighting for our city and our country. Madame Speaker, thank you,” he wrote.
Wiener, who is gay, wrote that his victory was “historic” because he would be the first open member of the LGBTQ community to represent Northern California and San Francisco in particular in Congress.
His statement focused on affordable housing, universal health care and clean energy.
“On Election Day, voters across the country delivered a powerful mandate for Democrats in Congress. I’m deeply inspired by the trust they placed in us to take big swings to lower the cost of living, stop the endless wars, hold Trump and his cronies accountable for their corruption, and rein in the threat of artificial intelligence,” he wrote.
Israel, however, was one of the talking points during the campaign, with both candidates accusing it of genocide against Palestinians in Gaza over the last three years.
Chan ran to Wiener’s left on Israel. Wiener, a self-proclaimed “lefty Jew,” opposes offensive weapons sales to an Israeli government not committed to peace, but supports defensive systems. Chan supports a full arms embargo and says that Palestinian refugees should be allowed to return to areas within sovereign Israel.
Wiener’s statement that Israel committed genocide sparked backlash from major Jewish institutions and cost him his leadership role in the state legislature’s Jewish caucus. He has also clashed over the years with anti-Zionist Jews, saying in 2024 that the anti-Zionist group Jewish Voice for Peace served to “give tokenistic cover to people who make antisemitic statements.”
Wiener was harassed by protesters criticizing his positions on Israel and Gaza at the San Francisco Trans March in June. He said the protesters forced him to leave the event and called their confrontation “antisemitic.”
Some local Jews urged their community to support him. Arthur Slepian and Jan Reicher, the current and former presidents of the Jewish Community Relations Council Bay Area, said that Wiener “did not abandon his commitment to Jewish security, Jewish education or the physical safety of Jewish institutions” in an op-ed in J, The Jewish News of Northern California. They argued that Chan represented a greater threat, saying her supporters “have undermined Jewish safety and seek Israel’s outright destruction.”
Wiener was backed by J Street, the liberal pro-Israel advocacy group, whose independent expenditure arm, J Street Action Fund, announced a $60,000 ad campaign vfor him in the primary.
Chan was supported by JVP and the Bay Area chapter of IfNotNow, another left-wing Jewish group. She also received an endorsement from Pelosi, despite the former House speaker’s more moderate politics and longtime support for Israel.
This article originally appeared on JTA.org.
The post Wiener to hold Pelosi’s House seat after race in which both candidates attacked Israel appeared first on The Forward.
