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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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Rahm Emanuel joins calls for end to US ‘financial aid’ to Israel
(JTA) — Rahm Emanuel has joined growing calls for the United States to end subsidies tied to its military sales to Israel, arguing that Israel should purchase weapons on the same terms as other U.S. allies.
“The days of taxpayers subsidizing Israel militarily, that’s over,” Emanuel said during an appearance on Bill Maher’s HBO Max show “Real Time.” “No more financial aid.”
Emanuel is the Jewish former mayor of Chicago who is seen as a likely 2028 Democratic presidential candidate. His comments come months after he said that Israeli Prime Minister Benjamin Netanyahu and the Israeli government bore responsibility for the starvation of Palestinians in Gaza last summer.
Now, as support for Israel hits a record low among Democrats and party leaders increasingly move away from the United States’ longstanding backing of the country, calls to end U.S. military aid to Israel are gaining traction.
Last week, all but seven Senate Democrats voted to block the sales of certain weapons to Israel, marking a doubling in the number of lawmakers backing similar resolutions in just two years.
Emanuel, whose father was born in Jerusalem and who volunteered as a civilian with the Israeli army during the Gulf War in the 1990s, told Maher that Israel should be able to fund its own military — and implied that it might not meet the United States’ standards for being able to purchase U.S.-made weapons.
“Israel is a very wealthy nation. There should be no more taxpayer support for what they want to do and they get the same deal that any one of our allies do,” Emanuel said. “They have to abide by the laws of the United States if they’re going to buy X weapons, and that’s how it should be constructed.”
In January, Netanyahu said for the first time that he wanted to “taper off” U.S. military aid to Israel over the next decade until it reaches zero. His pledge was quickly met with support from South Carolina Republican Sen. Lindsey Graham, who said at the time, “We need not wait 10 years.”
Speaking of the joint U.S.-Israeli war in Iran, Emanuel said the move amounted to a “violation of a rule Israel’s had for 78 years,” arguing that Israel had long sought to avoid pulling the United States into conflicts with its neighbors.
“The United States should never spill any blood for the state of Israel’s security,” Emanuel said. “What happened here going into Iran with the United States and Israel fighting together, which has never happened in 78 years, is a major change in policy for the State of Israel, which comes with political risk, and now they’re seeing it.”
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Michigan Democrats nominate Eli Savit, progressive Jewish prosecutor, for state attorney general
(JTA) — A progressive Jewish county prosecutor won the endorsement of Michigan’s state Democratic Party over the weekend in his bid for state attorney general, at a convention that also spotlighted deep divides over Israel within the party.
Eli Savit beat out another county prosecutor for the chance to succeed Dana Nessel, the state’s current AG, who is also a Jewish Democrat. He will be the Democratic nominee on November’s ballot.
Unlike Savit, who remains largely embraced by the left, Nessel has made enemies among the state’s pro-Palestinian activist contingent for her role in aggressively prosecuting University of Michigan encampment protesters.
The 41-year-old Savit has since 2021 been the prosecutor of Washtenaw County, which includes Ann Arbor and the university. A former clerk for Jewish Supreme Court Justice Ruth Bader Ginsburg, he was endorsed by Sen. Bernie Sanders and elected in a mini-wave of progressive prosecutors that also included Chesa Boudin in San Francisco.
While Boudin was forced out following a 2022 recall, Savit has remained in Washtenaw’s good graces as he’s pushed progressive proposals including decriminalizing consentual sex work, not seeking prosecutions for psychedelics consumption and curbing cash bail.
Savit has called himself “a bona fide American Jew” and has invoked his identity when opposing policies such as President Trump’s first-term 2019 executive order defining Judaism as a nationality as part of an effort to target BDS movements on college campuses. He has said his father’s family came from “shtetls in Russia, Poland, and the Ukraine,” and that his mother, originally from Iowa, converted to Orthodox Judaism. He also wrote a letter to the Wall Street Journal in 2016 to dispute a column wondering why more Jews don’t vote Republican.
Savit also played a part in prosecuting the university’s pro-Palestinian protesters, although his role was smaller than Nessel’s. In 2024 his office filed felony charges against four protesters for allegedly assaulting police officers during a sit-in at the university president’s house. Some activists accused Savit and his assistant prosecutor of “betraying their constituents” and “doing so to protect the university’s investments in genocide and apartheid.” (Two of the charged were permitted to enter a diversion program for young offenders, while the other two pled down to misdemeanors.)
When it came to the more high-profile charges against some of the school’s encampment participants, Savit allowed Nessel’s statewide office to handle the cases. Nessel was then accused of being “biased,” a charge she labeled as antisemitic; she ultimately dropped the charges against the protesters.
The attorney who defended the protesters, Amir Makled, also won the Democratic Party’s nomination Sunday in his bid to oust a Jewish, pro-Israel member of the University of Michigan’s Board of Regents. Makled won the party’s support despite reports of past social media activity in which he had retweeted antisemitic conspiracy theorist Candace Owens and praised Hezbollah’s assassinated leader.
Savit also unreservedly condemned the Temple Israel attack in Michigan as antisemitic and stated, “There is a lot of grief, a lot of pain from people that may have loved ones, may have relatives who are in the regions, may even have lost loved ones and relatives. But at the end of the day, that certainly does not give license to launch attacks on Jewish community spaces.”
His statements drew a contrast with Michigan U.S. Senate candidate Abdul El-Sayed, also a favorite of the state’s progressive wing, whose own condemnation of the attack had also invoked Israel’s war in Lebanon.
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At soldiers’ graves, the rows keep growing: Israel’s Memorial Day is shaped by new loss
(JTA) — TEL AVIV — When Varda Morell stands by her son’s grave in Jerusalem’s Mount Herzl military cemetery this Memorial Day, the official ceremony unfolding nearby will barely register. That was true in the two Memorial Days since Maoz was killed in Gaza in February 2024. What she will see instead is a swath of fresh graves, the once-empty section where he is buried now completely full.
“Each time we’ve come to visit his grave, there’s another row and another row and another row,” she said.
Across Israel, families marking Memorial Day, known as Yom Hazikaron, are doing so this year against a backdrop of continued fighting, successive ceasefires and a steady stream of new casualties, turning what is meant to be a day of remembrance into one that, for many, isn’t rooted in the past. The Israeli government says 170 soldiers and security personnel were killed since Yom Hazikaron last year.
For the sixth consecutive year, the official ceremonies did not follow their traditional format, after successive disruptions that began with the pandemic and later included political turmoil, wildfires and wartime restrictions.
For Morell, the recent “cleared for publication” announcements naming soldiers killed in Lebanon have brought it all back. “My heart feels sick just thinking about it,” she said on her way to deliver a Memorial Day talk at her son’s paratrooper base. “I remember what those first days were like, and what those families are going through now that they’ve joined this club. The club that no one wants to be a part of.”
In recent years, a growing number of bereaved families have chosen to boycott official ceremonies altogether. More than 150 signed a letter last week urging coalition lawmakers not to speak at military cemeteries, saying their loved ones’ graves should not be used as a “political platform for divisive messages.” Many still gather at the graveside with their families or communities, while others have said it was too painful to visit on the day itself.
Orit Shimon, who lost her son Dotan in September 2024, said that after her daughter Nufar was killed in a traffic accident in 2013, she came to see Yom Hazikaron as “as holy as Yom Kippur,” marking it by visiting her grave and then returning home to watch television programs about fallen soldiers. But after her son was killed in Gaza, she stopped watching altogether. Her connection to him, she said, is not at his grave but in the photos and videos she returns to again and again.
This year, despite her husband’s objections, Shimon chose not to send out messages inviting people to come and pay their respects, but expects that neighbors from her West Bank settlement of Elazar will come anyway.
“We don’t need a Memorial Day — it’s for other people. Every day is Memorial Day for us,” she said.
Shimon was among more than 450 bereaved parents who spent the weekend ahead of Memorial Day together at a Tel Aviv hotel, part of an annual retreat organized by OneFamily, an Israeli nonprofit that supports families of fallen soldiers and victims of terror. The organization held its own Yom Hazikaron ceremony in Jerusalem, designed as a space for bereaved families to share their stories openly with one another, rather than participate in the formal national commemorations. A day after Memorial Day, on Israel’s Independence Day, OneFamily founder, Chantal Belzberg, will officially receive the Israel Prize for lifetime achievement.
Amir Avivi, a retired top IDF official and founder of the Israel Defense and Security Forum, was slated to give an address over Shabbat on the regional geopolitical context. The weekend came just after successive ceasefires, first with Iran and then with Hezbollah, at a time when many Israelis argued the fighting had ended before the job was done — a question that, for some bereaved parents, was more acute, as they grappled with whether their sons’ deaths had been in vain.
But his message, Avivi said before the session, was “packed with optimism.”
“We need to look at the whole picture, not every ceasefire is the end of the world,” Avivi said, pointing to what he described as Israel’s string of gains since Oct. 7, from the degradation of Hamas and Hezbollah to the campaign against the regime in Tehran. “Who would have imagined America fighting side by side with Israel to take out an existential threat? I fully believe a golden age is coming.”
In another session, led by Eti Ablin, a clinical social worker and bereavement specialist, the discussion turned to the months and years after the loss. Some spoke about going from ceremony to ceremony in the first year, while others said that over time, the visits and calls from supporters had become less frequent.
One woman said that in the months after her son was killed, the constant presence of visitors had felt overwhelming, but that in the years since, she had noticed neighbors crossing the street to avoid her.
Another parent, whose son was killed at the Nova music festival, described organizing a birthday gathering in his memory that drew hundreds of people. “It’s up to us to make people come,” he said, before breaking down.
Ablin, who co-chairs a national forum on grief and bereavement, said hope requires an active effort. “Hope is not the same as saying, ‘it will be okay,’” she said. “There’s no expiration date to the pain. So you have to put boundaries around it and learn how to find your way out of it.”
Tali Marom from Ra’anana, whose son Roee, a squad commander, was killed early in the war, said that idea resonated. “We learn to live alongside the pit of despair and we build exit strategies for when we fall into it,” she said.
Being with other bereaved parents, she said, was one of those ways out.
“I don’t know how I would have gotten through this Shabbat without this,” she said, gesturing to the room. “I may not know who that woman is over there, but I know what she’s going through.”
At dinner, the conversation turned to a law requiring bereaved parents to sign off on combat service for surviving children. Marom said she had been asked to approve such a request for her daughter, describing it as a burden she had never imagined.
Another parent said he had to sign repeatedly as his son crossed into Lebanon during operations, because each crossing of an international border required renewed authorization, forcing him to confront the emotional weight of that decision each time.
“Thank God I don’t have that to deal with as well,” a third parent said.
Other discussions turned to what people did with their children’s belongings after their deaths.
Nechama Aharon, from Pardes Hanna, whose son Yogev was killed on Oct. 7 battling Hamas at the Kissufim base in the Gaza envelope, said she has no intention of parting with any of his belongings, saying it matters more to her than visiting his grave, which she does twice a year — on the anniversary of his death and on Memorial Day.
“No matter what happens, I’ll never touch anything in his room. I’m leaving absolutely everything the way it was,” she said. “I know that he might not be with me physically, but this way I feel like I’m preserving his memory.”
Shimon said that, for her, holding on to her son had come to mean making sense of the way he died.
“For a long time, I couldn’t think about anything except that I no longer had my son,” she said. “Another year has passed in which he could have been alive, and he’s not. But slowly I came to realize he didn’t die in a car accident. He was doing what he wanted to do. He went to bring the hostages back. His death was not meaningless.”
Morell said she has tried to preserve her son’s memory through projects in his name, including a film about his life for friends, family and Jewish communities in the United States, where she grew up, to connect to his story.
She contrasted the experience with America’s Memorial Day, describing it as largely detached from the reality of loss, marked more by sales and barbecues than remembrance.
“Here it’s so different,” she said. “It’s so moving to me that thousands and thousands of people, many of whom are strangers, come to pay their respects. And we know that even when we’re not around any more, a soldier will be sent to stand by Maoz’s grave. His legacy will live on. That gives us a lot of comfort.”
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