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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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At a Georgetown College Republicans event, member of Germany’s far-right party tells students the Holocaust is ‘used as a weapon’
Marc Bernhard, a member of Germany’s far-right AfD party, told Georgetown students Monday night at an event hosted by the university’s College Republicans that the Holocaust is “used as a weapon against Germany.”
The Forward obtained recordings of parts of the event, which was billed as Bernhard presenting about “mass migration and the future of the West.”
The event followed the AfD’s historic victory in a German state election last month, with party leaders campaigning on the promise of mass deportations and a rejection of the country’s culture of Holocaust remembrance.
During the Q&A period, an audience member asked Bernhard about the AfD’s “opinion on the Holocaust.”
“Our opinion? It’s a very, very large party,” Bernhard responded.
“Do you think German education overcompensates or you know, like, overapologizes?” the audience member followed up.
Bernhard said that over the last decade, accusations of Nazism had become “inflationary, because everyone who does not have the opinion of the government is a Nazi. So nobody takes this serious anymore, because it’s a joke.”
The “Holocaust is also used as a weapon against Germany,” Bernhard told the crowd of about 40. “Why is Poland telling us we need to pay reparations and things like this?”
He blamed anti-Jewish sentiment on “anti-fascists,” saying left-wing antisemitism was “why a lot of Jews leave Germany or a lot of Jews leave France, because they don’t feel secure anymore, especially in Berlin.”
Bernhard, meanwhile, has faced an antisemitism controversy of his own. Last January, he led a campaign to place tens of thousands of fake deportation plane tickets in voters’ mailboxes. The fake tickets read “ILLEGAL IMMIGRANT” in place of a passenger’s name.
The campaign drew comparisons to Nazi-era propaganda that used mock travel documents to encourage Jews to leave Germany, including one that read “free ticket to Jerusalem … never to return.”
Asked about the parallels by PBS FRONTLINE in November 2025, Bernhard said he was unaware of that history.
“Yeah, well, I’m not familiar with these actions,” Bernhard told FRONTLINE at the time. “To be honest, I don’t know them, nor was I aware of them.”
In a statement provided to the Forward, Georgetown College Republicans stood by its invitation to Bernhard, writing that “The AfD is currently leading national polls, and its growing support deserves serious engagement. Just as Republicans reject the American left’s efforts to dismiss our positions as extreme, we too reject the German Socialist Government’s labelling of AfD as extremist.”
The club added that “allegations of antisemitism are totally baseless.”
This wasn’t the first time Georgetown College Republicans hosted a member of the AfD: In 2025, the club hosted the party’s deputy leader, Markus Frohnmai.
The club also drew controversy in March for an X post from the club’s account saying “Let’s Be Honest: Muslims have no place in American society. Their religion is incompatible with our Christian Nation.” Georgetown Republicans said on Instagram that the post was “inconsistent with the values of our organization” and “promptly deleted.”
At Georgetown, Bernhard also engaged in anti-Muslim rhetoric: “We have this problem with people who are not with our culture or with our tradition,” Bernhard said. “Always, where you see problems it’s with Muslims. We don’t have problems with Ukrainians. We don’t have problems with Polish.”
Bernhard’s remarks drew frequent interruptions. The Georgetown Voice, the campus student-run magazine, reported that members of The Georgetown Heckler, Georgetown’s satirical publication, staged a coordinated ringtone prank, with 15 people each setting their ringtones to “funny noises” that went off as Bernhard spoke.
The Jewish Caucus of the College Democrats of America and Georgetown College Democrats also issued a joint statement condemning the College Republican’s decision to host Bernhard.
“We want Georgetown to put the safety of Jewish students above a platform for a foreign politician whose ideology is steeped in antisemitism and Holocaust revisionism,” Leo Auerbach, a senior at Georgetown and vice chair of the Jewish Caucus of College Democrats, told the Forward. “I think that antisemitism has to be called out, no matter who it comes from, whether it’s politically convenient or not.”
The post At a Georgetown College Republicans event, member of Germany’s far-right party tells students the Holocaust is ‘used as a weapon’ appeared first on The Forward.
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In Israel’s elections, where are the women?
On Oct. 27, Israelis will go to the polls at one of the most consequential moments in the country’s history. After years of war, trauma and political division, the next Knesset and government will face decisions that will shape Israel’s future for years to come.
But one question deserves significant attention: Where are the women?
Israel has long celebrated its history of women’s leadership. Golda Meir became one of the world’s first women prime ministers. Generations of Israeli women have built institutions, led social movements and fought to advance equality and democracy.
Yet despite this history, women have never achieved equal representation in Israel’s highest political institutions. Their representation has declined in key positions, and when Israel formed its war cabinet following Oct. 7, 2023, no women were included in its core membership. Women have also remained significantly underrepresented in high-level diplomatic and totally absent in peace negotiations.
For example, the senior Israeli delegation to the hostage deal negotiations in Doha in January 2025 consisted of four men, with no women among its publicly identified members. Similarly, men dominated the leadership of diplomatic negotiations concerning arrangements in Lebanon and coordination meetings regarding Iran’s nuclear program.
The numbers tell an important story.
According to a March 2026 analysis by the Israel Democracy Institute, only 31 of Israel’s 120 Knesset members were women—approximately 26 percent, below the global average of 27.5 percent. Israel’s international ranking for women’s parliamentary representation has fallen sharply, from 61st in 2022 to 92nd out of 181 countries in April 2026.
Women held just five of 24 cabinet positions, fewer than 21 percent, a substantial decline from the previous government, when women occupied approximately one-third of ministerial positions.
For more than 17 years, no woman has held any of Israel’s four most senior political positions: prime minister, foreign minister, defense minister or finance minister.
The disparity extends beyond elected office. A Knesset research report found that women accounted for 64 percent of Israel’s civil servants in 2024, yet held only 9 percent of the highest-ranking positions.
These figures are particularly troubling because, throughout Israel’s recent crises, women have demonstrated their indispensable leadership.
Since the Oct. 7 Hamas attacks on Israel, women have mobilized emergency responses, supported displaced families and kept civil society organizations functioning under extraordinary circumstances. Many have done so while confronting fear, grief and uncertainty in their own families.
Women who lead nonprofit organizations, advocacy movements and social-change initiatives develop expertise directly relevant to government. They understand how policies affect people, how institutions function, how to mobilize resources and how to bring communities together around shared challenges.
These are precisely the skills needed in public leadership.
But at the very moment Israel has depended on women’s leadership, women have had too little influence over the decisions shaping its future.
Israel’s electoral system places considerable importance on the composition of political party lists. Voters choose parties, and the placement of candidates on those lists affects who ultimately enters the Knesset. Some parties have adopted gender-balanced lists, while others have included far fewer women in positions with realistic prospects of election.
Efforts are emerging to change that. Seventeen women make up a majority of the slate for Beyachad (Together) — the merger of Naftali Bennett’s previously unnamed faction with Yair Lapid’s Yesh Atid. Meanwhile, even though ultra-Orthodox parties do not allow women to be their candidates to the Knesset, a new party called Haredi Public has included two women on their slate.
Two women whose candidacies have been particularly meaningful to me are Moran Zer Katzenstein and Moria Rodal Silfen, whose leadership I have had the privilege of witnessing firsthand through The Collective, Elluminate’s leadership advancement program. Through a Jewish and feminist lens, we invest in, train, connect and elevate women leaders advancing social change. Both women have demonstrated extraordinary courage and leadership in confronting some of Israel’s most pressing challenges.
Katzenstein, founder of Bonot Alternativa, a nonpartisan women’s organization advocating for women’s rights and
democracy, is running with The Democrats, led by Yair Golan. Her organization gained international recognition in 2023 when women dressed in the iconic red robes and white bonnets of The Handmaid’s Tale staged silent protests against Israel’s judicial reforms, becoming a powerful symbol of the pro-democracy movement.
Silfen, CEO of the Task Force on Human Trafficking and Prostitution (TFHT), was running with Benny Gantz’s Blue and White party until his decision Monday to withdraw from the race. For more than a decade, Silfen has led efforts to combat human trafficking and sexual exploitation in Israel, advancing legislative reforms and protections for vulnerable women.
Both women have been pursuing different political paths, but their candidacies illustrate a shared truth: Israel has an extraordinary reservoir of experienced women leaders ready to bring their expertise from civil society into national decision-making.
Their candidacies demonstrate what becomes possible when women move from influencing public policy through civil society to seeking a direct role in making it. But the issue goes beyond numbers on a ballot.
Representation matters because who participates in decision-making influences which experiences are heard, which questions are asked, which problems receive attention and which solutions are considered.
Consider the challenges Israel faces: rebuilding communities devastated by war, responding to trauma, strengthening democratic institutions, addressing economic pressures, supporting families and restoring trust across a deeply divided society.
Women bring essential expertise to every one of these challenges—as professionals, public servants, community leaders, researchers, entrepreneurs, advocates and members of families and communities affected by the war.
The goal is not simply to increase the number of women in office, but to ensure that Israel’s institutions benefit from the full range of leadership and expertise available in its society. What they need are opportunities, investment, visibility and access to the institutions where decisions are made. For this reason, we should continue to invest in women-led civil society organizations and the relationships that help them succeed.
These organizations are not peripheral to Israel’s future. They are developing solutions to pressing social challenges, supporting vulnerable populations, strengthening communities and creating opportunities for public participation. When women leaders connect across issues and sectors, they exchange expertise.
Whatever its political composition, Israel’s next government will confront enormous challenges. Meeting them will require the knowledge, experience and leadership of the entire population.
Golda Meir’s legacy should not simply be something Israel celebrates. It should remind us that women’s leadership belongs at the center of national decision-making.
The women who have sustained the state throughout years of crisis have demonstrated their capacity to lead. They should not have to prove it again.
The post In Israel’s elections, where are the women? appeared first on The Forward.
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Vance declines to endorse Netanyahu, a day after Trump backs prime minister
(JTA) — Vice President JD Vance has refused to endorse Prime Minister Benjamin Netanyahu, just a day after President Donald Trump announced his support for the incumbent Israeli leader.
“I’m not anti-endorsing. I’m not pro-endorsing,” Vance told journalist Mark Halperin in a Monday interview. “I’m not getting involved in the Israeli elections.”
“I endorse American candidates,” the vice president added, noting that he is focused on the U.S. midterms.
Trump declared his support for Netanyahu, who is running for reelection, in a Sunday Truth Social post in which he deemed the Israeli leader “a Great Warrior Prime Minister” and a vital partner in removing the Iranian threat. Recent polls show Netanyahu closely trailing former IDF chief-of-staff Gadi Eisenkot in the election, which will take place on Oct. 27.
Liberal Middle East policy advocates, including J Street, have blasted Trump’s decision to back Netanyahu, arguing that he’s acting against the interests of U.S. taxpayers.
While Vance declined to endorse the Israeli prime minister, he has previously involved himself in international elections. In April Vance joined Trump in backing then Prime Minister Viktor Orbán in Hungary, although that support did not end in victory.
Last year, the vice president also met with the leader of the far-right Alternative for German political party, AfD, in Munich but he did not issue an official endorsement for that candidate.
This article originally appeared on JTA.org.
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