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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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Mamdani confronts backlash over exclusion of Jewish lawyers from judicial panel
Since taking office in January, Mayor Zohran Mamdani has shrugged off criticism from Jewish organizations over his opposition to Israel and Zionism. But new allegations that his administration excluded Jewish lawyers from a key City Hall appointments committee appeared to strike a nerve — getting directly at how he is governing New York City.
“The suggestion that there would be any decision-making motivated by religion, it does bother me,” Mamdani told reporters on Wednesday. “This is a city that is beautiful because of the breadth of diversity of those who call it home, and that includes the Jewish community across the five boroughs.”
On Monday, a coalition of New York City’s Jewish bar associations circulated a letter accusing Mamdani of excluding Jews from his appointees to the city’s 18-member Advisory Committee on the Judiciary. New York City has the largest Jewish population in America, and Jews are heavily represented in the legal profession.
The critics suggested that the absence of Jewish attorneys on the judicial advisory committee follows a “troubling pattern” that has left many Jewish New Yorkers “feeling increasingly marginalized.” The letter also pointed out that the rejection of retired Appellate Division Justice John Leventhal during the vetting process was “disconcerting” given the lack of outreach to other Jewish lawyers.
Mamdani forcefully denied suggestions that religion played any role in assembling legal experts for the committee. “I did not ask for the religion of each of the person that was put forward,” he said on Wednesday.
🚨Mamdani, facing qs about the lack of Jewish members on his judicial advisory committee, says he has appointed and reappointed a dozen judges from diverse backgrounds, “including Jewish ones.”
Mamdani appointed three new judges in January. The rest, including the Jewish judges… https://t.co/1b30y1y0XL pic.twitter.com/R0UQSl3Hmv
— Jacob N. Kornbluh (@jacobkornbluh) July 29, 2026
Mamdani’s press secretary, Joe Calvello, said that Leventhal was rejected after the vetting team found that he served on the legal team of Ghislaine Maxwell, a socialite who was sentenced for helping late sex offender Jeffrey Epstein. Calvello also said that Mamdani “had the privilege of appointing a dozen qualified judges from a range of backgrounds, including Jewish judges.” In January, Mamdani appointed three new judges. Another nine, including those referenced as being Jewish, are sitting judges whose original appointments were made under previous administrations.
That explanation became the centerpiece of Mamdani’s defense Wednesday. “The thing that matters most to me is that in the judges that have been appointed and reappointed, that they do reflect that diversity of New York City, and that diversity includes Jewish New Yorkers,” he said.
Why this controversy is different for Mamdani
The exchange with two reporters at Wednesday’s press conference, who questioned him about the appearance of excluding Jewish lawyers, reflected a different political challenge than the one Mamdani has faced for much of his first six months in office.
Mamdani has clashed with Jewish organizations that have largely centered on foreign policy or how to define antisemitism related to anti-Zionist activity.
His Day One repeal of the International Holocaust Remembrance Alliance definition of antisemitism, labeling Israel’s war in Gaza a genocide, support of boycotts, production of a Nakba Day video commemorating the displacement of Palestinians during Israel’s founding in 1948, response to pro-Palestinian protesters outside synagogues hosting an Israel real estate sale, pledge to seek the arrest of Israeli Prime Minister Benjamin Netanyahu if he visited New York, and most recently his call for protests against Netanyahu’s expected visit to the United Nations alienated much of New York’s organized Jewish community. But they reinforced Mamdani’s standing with his progressive base and the pro-Palestinian movement that helped propel him into office.
The judicial committee controversy is different. It raises questions about Jewish representation within his own government and whether the country’s largest Jewish community is being included in an influential legal panel.
It also follows questions earlier this year about the administration’s outreach to the Jewish community. Mamdani’s Jewish American Heritage Month reception at Gracie Mansion in May drew few leaders from mainstream Jewish organizations, after many declined invitations amid ongoing tensions over the mayor’s handling of antisemitism and Israel. The guest list reflected stronger ties with progressive Jewish groups, anti-Zionist activists and Hasidic leaders.
Wednesday’s response showed that Mamdani sees this as a different kind of political challenge. Unlike criticism over Israel, accusations that Jews are being left out of his own administration strike at the inclusive image he has tried to build as mayor.
The post Mamdani confronts backlash over exclusion of Jewish lawyers from judicial panel appeared first on The Forward.
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Tidbits: A huge Jewish dating event through AI and Chabad
Tidbits is a Forverts feature of easy news briefs in Yiddish that you can listen to or read, or both! If you read the article and don’t know a word, just click on it and the translation appears. Listen to the report here:
דעם 9טן אויגוסט וועלן טויזנטער אומבאַפּאָרטע ייִדן איבער דער וועלט אָנשטעלן זייערע עקראַנען און רעדן נײַן מינוט לאַנג מיט אַ פֿרעמדן. בײַ אַ טייל פֿון זיי וועט דאָס אפֿשר, אָן זייער וויסן, זײַן דער ערשטער שמועס מיט זייער זיווג.
אַזוי האָפֿן טאַקע די אָרגאַניזירער פֿונעם ריזיקן ראַנדקע-געשעעניש, Met@Chabad, וואָס זיי זאָגן וועט זײַן די גרעסטע סינכראָניזירטע ייִדישע ראַנדקע־אונטערנעמונג אויף דער וועלט. אין איין נאַכט וועלן אומבאַפּאָרטע ייִדן פֿון מער ווי 30 לענדער און טויזנט קהילות — אַרײַנגערעכנט מעלבורן, בוענאָס־אײַרעס און ניו־יאָרק — צונויפֿגעפּאָרט ווערן מיט פֿינעף מענטשן, אַ דאַנק דער הילף פֿון „איי־אײַ“ און אויך דורך רבנים און רביצינס, וואָס קענען די באַטייליקטע פּערזענלעך. מיט יעדן פֿון די פֿינעף מענטשן וועט דער באַטייליקטער שמועסן נײַן מינוט לאַנג דורך ווידעאָ.
זינט 2021, ווען מע האָט אײַנגעפֿירט די יערלעכע ראַנדקע־אונטערנעמונג, זענען מער ווי 30 פּאָרלעך פֿאַרקנסט געוואָרן דורך דער סיסטעם, און כּמעט בײַ אַלע זענען די פּאָרלעך געווען פֿון אַנדערע שטעט און לענדער. מיט אַנדערע ווערטער, אָן דער אונטערנעמונג וואָלטן זיי זיך קיין מאָל נישט באַקענט.
די יערלעכע אונטערנעמונג איז אָרגאַניזירט געוואָרן צוליב אַ וואַקסנדיקן פֿענאָמען בײַ די חב״ד־שלוחים איבער דער וועלט. יונגע ייִדן וואָס קומען צו זיי אויף שבת־מאָלצײַטן אָדער כּדי זיך צו באַראַטן מיט זיי וועגן אַ קאַריערע אָדער צוליב אַ פּערזענלעכן ענין, האָבן אָפֿט אויך געבעטן הילף בײַם געפֿינען אַ שידוך. אָבער בײַ חב״ד איז פּשוט נישט געווען קיין „שדכנות־ביוראָ“.
נעמענדיק אין באַטראַכט וויפֿל אַמעריקאַנער ייִדן האָבן הײַנט חתונה מיט נישט־ייִדן האָבן די שלוחים שטאַרק געוואָלט העלפֿן די אומבאַפּאָרטע ייִדן וואָס זוכן אַ זיווג. לויטן „פּיו“־פֿאָרשצענטער, האָבן 72% נישט־אָרטאָדאָקסישע ייִדן זינט 2010 חתונה געהאַט מיט עמעצן וואָס איז נישט קיין ייִד. אָבער זינט דעם 7טן אָקטאָבער 2023 האָבן די שלוחים באַמערקט אַ נײַע טענדענץ: מער יונגע ייִדן זאָגן זיי, אַז זיי ווילן חתונה האָבן מיט ייִדן און זוכן הילף ווי צו דערציִען ייִדישע משפּחות.
כּדי זיך צו פֿאַרשרײַבן אויף דעם ראַנדקע־געשעעניש דעם 9טן אויגוסט גיט אַ קוועטש דאָ:
צו לייענען וועגן דעם אויף ענגליש גיט אַ קוועטש דאָ:
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‘Do not boycott people who dislike us’: Netanyahu challenger Yair Lapid urges AIPAC and J Street to make support for Israel bipartisan again
Israeli Prime Minister Benjamin Netanyahu’s meeting in Washington, D.C. on Tuesday made headlines, but he is not the only Israeli official trying to make inroads in the nation’s capital this week.
Former Israeli Prime Minister Yair Lapid is also in town to get a head start on repairing the U.S.-Israel relationship. On Wednesday, Lapid, who is running on a joint slate with former Prime Minister Naftali Bennett to unseat Netanyahu in Israel’s October elections, met with a group of Democratic senators, including a handful who have voted in favor of restricting arms sales to Israel.
“I took advantage of the visit to convince them they were wrong, presenting them with facts on the ground,” Lapid wrote in a post on X translated from Hebrew. “Boycotting those who speak out against you is not the way. In the face of opposition in the Senate, you need to work hard, meticulously, to repair relations with both parties.”
Lapid and Bennett’s priorities are shared by many liberal Israelis who see the bipartisan foundation of the U.S.-Israel alliance falling apart and believe that replacing Netanyahu and winning back Democrats are both key to the survival of the Jewish state.
A recent poll found that nearly half of Americans believe the U.S. should enforce an International Criminal Court (ICC) arrest warrant for Netanyahu over his actions during Israel’s war in Gaza. Meanwhile, in April, more than three dozen Democratic senators voted in favor of a resolution introduced by Sen. Bernie Sanders of Vermont to block certain arms sales to Israel.
On Wednesday, Lapid met with some of those Democratic senators: Sen. Tim Kaine (D-Va.), Adam Schiff (D-Calif.), Alex Padilla (D-Calif.) Maggie Hassan (D-NH), John Hickenlooper (D-Colo.) Catherine Cortez Masto (D-Nev.), and Cory Booker (D-NJ), all of whom voted to restrict some U.S. arms sales to Israel. Also at the meeting were Sens. Jacky Rosen (D-Nev.) and Richard Blumenthal (D-Conn.), both of whom have staunchly backed U.S. military support for Israel.
Ahead of those meetings, Lapid outlined the opposition’s plan to bring Israel out of international isolation in a speech Monday evening at the Atlantic Council, an influential DC-based think tank.
First on the “to-do list,” as he called it, was to “restore Israel’s bipartisan standing in the United States” and “firmly encourage AIPAC and J Street to move away from partisanship, remind our friends that to be pro-Israeli is to be bipartisan, and build a broad coalition of support.”
“Do not boycott people who dislike us,” he added. “Insist on meeting them and presenting our case.”
AIPAC has long marketed itself as a bipartisan lobbying organization, though critics argue it has become increasingly aligned with Republicans in recent years. In late 2021, it launched a political action committee that has spent heavily in Democratic primaries against candidates whom it deemed unsupportive of Israel.
Meanwhile, J Street, founded in 2008, has long been closely aligned with Democratic lawmakers, often maintaining a critical position on Israeli policies and advocating for a two-state solution to the conflict.
At present, Lapid and Bennett’s joint party, called Together, is the second-strongest party running against Netanyahu in the polls. Gadi Eisenkot’s Yashar party is polling ahead of it — and, in some surveys, ahead of Netanyahu’s Likud party
Any coalition capable of ousting Netanyahu would likely require Together and Yashar to join forces, meaning Bennett, Lapid and Eisenkot would likely all hold very senior positions in a future government if they manage to build a coalition.
Lapid also pledged that a new government would “stay out of American politics” and “respect the American people and the leaders they have chosen on both sides of the aisle.”
“Elizabeth Warren, John Ossoff and Tim Kaine are not the enemy,” he said. “The Democratic Party is not the enemy. J.D. Vance is not the enemy.”
Vance has rattled the U.S. Israel relationship in recent weeks by belligerently defending a ceasefire agreement with Iran and lambasting the Netanyahu government. In addition to Kaine, Warren of Massachusetts and Ossoff of Georgia were among the senators in April who voted in favor of restricting arms sales.
The post ‘Do not boycott people who dislike us’: Netanyahu challenger Yair Lapid urges AIPAC and J Street to make support for Israel bipartisan again appeared first on The Forward.
