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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 grandmother Eva Schloss survived Auschwitz. She would not be silent about America today.

(JTA) — Back in 2016, my Oma, Eva Schloss, made international headlines for comparing President Donald Trump and Adolf Hitler. As a child, she lived through the rise of fascism, a pattern she was nervous to see echoed in the United States. She fled from Austria to Amsterdam, only to be deported to Auschwitz with her entire family; she ultimately survived Auschwitz with only her mother — my great-grandmother. She devoted her life to Holocaust education, and she refused to back away from making these comparisons.

My Oma was famous not only for being a Holocaust educator but also because of who her mother married after the war — Otto Frank, Anne Frank’s father, whose entire family had been murdered. She passed away just a month ago, and I believe it is my responsibility to ensure that her message lives on.

That is why I am saying that it is a shameful disservice to both her memory and Anne Frank’s for the United States Holocaust Memorial Museum to call comparisons between ICE violence and the Holocaust “deeply offensive.”

The museum was responding to Minnesota Gov. Tim Walz’s comments urging ICE to leave his state. “We have got children in Minnesota hiding in their houses, afraid to go outside. Many of us grew up reading that story of Anne Frank,” he said. “Somebody is going to write that children’s story about Minnesota.”

I believe he is right. Remembering the Holocaust does not mean waiting for gas chambers before we speak. It means recognizing how ordinary policies — immigration bans, detention regimes, and mass deportations — prepare the ground for mass violence. These are through lines in history. My grandmother spoke because she recognized these patterns as they emerged. Remembering the Holocaust means we need to compare, draw analogies, and recognize how these patterns shift over time — so we can disrupt them before they take hold again.

But the widespread use of Holocaust analogies right now overlooks some key context. Treating ICE’s violence as analogous to the Holocaust risks obscuring the fact that white supremacist violence is deeply embedded in U.S. history itself. Nazi ideology did not emerge in a vacuum; it was partly shaped by American precedents. The notion of Lebensraum (“living space”), a key tenet of Nazi ideology, was inspired by the American notion of Manifest Destiny, as noted by the USHMM itself. The Nuremberg laws targeting Jews were modeled on America’s own racial segregation laws.

When Donald Trump speaks of “bad genes” in relation to immigrants, it’s easy to draw a through line from the American eugenics program of the early 20th century, through Nazi racial ideology, to the actions taken by ICE today. Instead, we should look at contemporary white supremacy in context, as part of an ecosystem of racist and authoritarian movements, influenced by both American and German ideas.

My Oma spoke out for immigrants and refugees because she lived through her family’s death and suffering as a result of countries refusing to open their borders to people fleeing Nazi territory. Trying to escape, running from embassy to embassy, my Oma’s family submitted one last application to move to Australia — but it was denied. She wrote: “It’s almost unbearable to think how much that denied visa application changed our lives,” leading to the death of her father and brother. Over the past nine years, we have seen the near-total collapse of the U.S. asylum and refugee system. My Oma knew that the more borders close, the more children would be stranded in violent and dangerous situations, just like what happened to her younger self and to Anne Frank.

It is unacceptable for the USHMM to distort my family’s history and silence people speaking out about the persecution of others. Many of the same communities who were murdered alongside my Jewish family by the Nazis — including Black, Brown, trans, Indigenous, Romani, queer, and disabled people — are the same groups being targeted directly by this administration.

For those of us who are descendants of Holocaust survivors, remembering our history means refusing to stand idly by as Holocaust memory is misused to downplay the abductions and killings of our neighbors and to falsely justify violent border restrictions. The USHMM is justifying an approach that leans on fear and oppression, which does nothing to protect Jews or anyone else. Instead, we must insist on a world that truly believes, as the Jewish immigration justice organization that I belong to says, “Never again for anyone.”

By condemning these comparisons, the USHMM is not safeguarding Holocaust memory — it is policing historical memory so that it applies only to certain groups, stripping it of its power as a universal warning against dehumanization and state violence. Instead, let’s call out white supremacy and build a society that values our collective safety.

When I was coming home after my grandmother’s funeral in England last month, I was nervous that I might not be let into the country because I know that many immigrants, including green card holders like myself, have been denied entry. Even knowing that my privileges would likely protect me, I felt scared. And that’s exactly what the government is trying to do — make all immigrants (no matter our status) live in fear.

When I think about my Oma, I remember who changed the course of her life: the many members of the Dutch resistance who broke the law to hide her, and the one who followed the law to inform on her.

Now is the time to ask ourselves: which one do we want to be?

This article originally appeared on JTA.org.

The post My grandmother Eva Schloss survived Auschwitz. She would not be silent about America today. appeared first on The Forward.

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Credit Suisse had many more bank accounts with Nazi ties than previously known, investigation finds

(JTA) — The financial services company Credit Suisse had hundreds more bank accounts with Nazi ties than it had previously revealed, a new investigation reported this week.

The findings were discovered when independent investigators audited UBS, the Swiss bank that acquired Credit Suisse in 2023.

“What the investigation has found to date shows that Credit Suisse’s involvement was more extensive than was previously known, and it underscores the importance of continuing to engage in research efforts about this horrific era of modern history,” Neil Barofsky, a lawyer overseeing the inquiry, testified before the Senate Judiciary Committee Tuesday.

Barofsky’s report found 890 accounts potentially linked to Nazis: 628 individuals and 262 legal entities.

The investigation also found that Credit Suisse provided support to the “ratlines” that enabled Nazis to escape Europe and enter Argentina, opening and maintaining accounts for the Argentine Immigration Office.

Specifically, Barofsky said in his testimony, Credit Suisse provided funds “to finance bribes, obtain fraudulent travel documents, and pay for living expenses and transportation for fugitives, including perpetrators of the Holocaust.”

Barofsky’s investigation into UBS also found multiple previously unreported instances of the forced sale of property owned by Jews during the Holocaust. It also found that Credit Suisse held accounts for the German foreign office during the Holocaust, which dealt with the deportations of Jews.

Last May, Argentina declassified more than 1,800 documents related to the ratlines at the behest of the Simon Wiesenthal Center, named for the late Nazi hunter. Barofsky’s research into Credit Suisse’s involvement in the ratlines is ongoing, he said.

The findings represent a potentially explosive capstone to years of investigation into Credit Suisse’s Nazi ties.

Jewish organizations have long claimed that in addition to playing a key role in financially supporting Nazi Germany, Credit Suisse has held onto money looted from Jews long after the war. In 1999, the Swiss bank paid Jewish groups and Holocaust survivors a settlement of $1.25 billion in restitution for withholding money from Jews who had tried to withdraw their funds.

In 2020, the Simon Wiesenthal Center, a Jewish advocacy group, alleged that the bank had also hidden information about its ties to Nazis who fled to Argentina.

The bank hired Barofsky the following year to investigate its record but fired him in 2022, angering U.S. lawmakers including Sen. Chuck Grassley, now chair of the Senate Judiciary Committee. In 2023, as the top Republican on the Budget Committee, Grassley charged that Credit Suisse was obfuscating its Nazi ties, saying, “When it comes to investigating Nazi matters, righteous justice demands that we must leave no stone unturned. Credit Suisse has thus far failed to meet that standard.” Barofsky was soon rehired.

Tuesday’s hearing grew heated when Barofsky said the bank was still interfering with his investigation. He argued that his investigation could not be completed without access to 150 documents related to a 1998 restitution settlement between UBS and Holocaust survivors, which Barofsky says may contain the names of specific account holders he is investigating.

Robert Karofsky, president of UBS Americas, alleged Tuesday that giving Barofsky access to those documents could violate attorney-client privilege.

“Materials from the 1990’s are not within the scope of the Ombudsperson’s oversight, which is meant to be focused on Credit Suisse’s history and World War II-era conduct,” Karofsky said.

Still, Barofsky said, his report will be incomplete without those documents.

“I will be unable to provide assurance in my final report that the investigation has truly left no stone unturned,” he said.

The post Credit Suisse had many more bank accounts with Nazi ties than previously known, investigation finds appeared first on The Forward.

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Former Moscow rabbi says he rebuffed proposal to convert a million Russians discussed in Epstein files recording

(JTA) — When newly released audio recordings revealed former Israeli Prime Minister Ehud Barak discussing mass conversion and selective immigration with Jeffrey Epstein, disgraced financier and the convicted sex trafficker, the reaction in Israel was swift and deeply political.

Israel’s current prime minister, Benjamin Netanyahu, accused Barak of seeking to “select” Jews for immigration and charged that Israel’s political left was trying to “replace the people” after failing at the ballot box — an echo of contemporary conspiracy theories about immigration that appear to have been treated as a serious idea at the time.

The recordings, released this week as part of the U.S. Justice Department’s latest disclosure under the Epstein Files Transparency Act, capture Barak in a wide-ranging conversation with Epstein, who died in federal custody in 2019. The audio appears to date to around 2013, when Barak — a longtime leader in the liberal Labor Party — was 71 years old and transitioning into the private sector.

In the recording, Barak argues that Israel should weaken the Orthodox rabbinate’s control over conversion and open the door to large-scale conversion as a demographic strategy.

“We have to break the monopoly of the Orthodox rabbinate — on marriage and funerals, the definition of a Jew,” Barak says. “Open the gates for massive conversion into Judaism. It’s a successful country. Many will apply.”

Over more than three hours, Barak speaks candidly about population trends in Israel, the West Bank and Gaza, warning that without a two-state solution, Jews could lose their demographic majority.

“It will be an Arab majority,” Barak says of the territories. “It’s a collective blindness of our society.”

Barak also expresses concern about the growing proportion of Arab citizens within Israel, noting that Arabs made up about 16% of the population four decades ago and roughly 20% today. He contrasts that growth with the ultra-Orthodox Jewish population, which he says is expanding more rapidly.

As a counterweight, Barak proposes immigration, conversion and minority inclusion. He praises the Druze and Christian minorities as highly integrated and points to immigrants from the former Soviet Union as prime candidates for conversion.

“We can control the quality much more effectively, much more than the founding fathers of Israel did,” Barak says. Referring explicitly to immigration from North Africa, he adds: “They took whatever came just to save people. Now, we can be more selective.”

Barak lauds the post-Soviet aliyah of the 1990s, which brought more than 1 million Russian-speaking immigrants to Israel, and says the country could “easily absorb another million.” He recounts telling Russian President Vladimir Putin that Israel about this idea and joking about mixed Russian-Israeli names in the military as evidence of rapid integration.

The remarks drew sharp criticism from Pinchas Goldschmidt, who spent more than three decades leading Moscow’s Jewish community before leaving the country after Russia’s invasion of Ukraine in 2022. In an interview, Goldschmidt said the recording echoed conversations he encountered repeatedly during his years in Russia.

“I spent 33 years in Moscow, and there was talk like this,” Goldschmidt said. “Not necessarily among the heads of the agencies dealing with aliyah, but among employees and officials who felt this was their opportunity to stop Israel from becoming a Levantine country.”

Goldschmidt said those attitudes occasionally surfaced in direct encounters with Israeli political figures. He recalled a meeting with former Israeli minister Haim Ramon, who asked whether Orthodox rabbinical courts could convert large numbers of non-Jewish immigrants from the former Soviet Union.

“He came to me with a number,” Goldschmidt said. “He mentioned 100,000.”

Goldschmidt said his response was categorical. “Halacha doesn’t speak in numbers,” he said, referring to Jewish law. “There is no number on the top and no number on the bottom. Halacha speaks about standards and conditions. If 1 million people are ready to convert according to Jewish law, then we will convert 1 million people. And if they are not ready, we will not convert even one.”

Goldschmidt said the meeting took place after Ramon had left government following a sexual misconduct scandal but emphasized that it was not a casual exchange.

“It was more than a conversation,” he said. “It was not a conversation over tea. If he came to see me officially, with a question like that on the table, then it meant something.”

For Goldschmidt, Barak’s claim in the recording that he discussed such matters with Putin was particularly striking. “Why do you have to speak to Putin about converting a million Russians?” he asked. “People can leave Russia without permission. The person he needed to speak to was me.”

Goldschmidt said Barak’s framing of conversion and immigration would be widely perceived in Israel as offensive. “Anyone from Middle Eastern backgrounds would hear this whole conversation as extremely racist,” he said. “And anyone who is traditional or religious would also find it very offensive.”

In his comments, Netanyahu also said Barak’s close relationship with Epstein proved that Epstein did not work for Israel or its intelligence services, saying it would make no sense for an Israeli asset to be closely associated with one of the government’s most vocal opponents.

Barak’s ties to Epstein — including repeated meetings years after Epstein’s 2008 conviction — have been reported previously, and there is no evidence of criminal wrongdoing by Barak.

The post Former Moscow rabbi says he rebuffed proposal to convert a million Russians discussed in Epstein files recording appeared first on The Forward.

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