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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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We were instant friends. Then came the Israel question.
There’s one thing these days Jewish publications of all stripes seem to agree about: The Jewish future — geographically, politically, spiritually — is Florida. An article last month in the conservative magazine Tablet pondered whether Miami was “the new Jerusalem,” and left-wing quarterly Jewish Currents made the Sunshine State the theme of an entire 2024 issue.
As a Jewish journalist, inveterate spring breaker and friend of a Florida man with a couch for me to crash on, I wanted to see for myself. So last week, with paid time off burning a hole in my swim trunks, I took my talents to South Beach … and spent essentially no time in the Jewish community at all. (Though I did DoorDash banana bread from Zak The Baker.) But just as Jonah could not outrun his destiny, the Jewish future inevitably found me anyway. This happens when you like talking to random people at bars.
I had spent much of the night getting to know an ebullient pair of strangers, Will and Deanna. (Names changed here.) They are best friends and roommates, two Dallas-born transplants chasing careers in fashion design. Both are gay, and neither is Jewish. But we found common ground when Will told me he is religious. As I told Will, I’ve reported extensively on the experiences of queer Orthodox Jews for the Forward (“a really cool Jewish newspaper”). I spoke of the challenges they face, their resilience and their breakthroughs, and Will spoke about bringing his queerness to his faith.
There was something he needed to ask me, though: Had I been reporting on Jewish people where I’m from, or — he ventured nervously — “Israeli Jews”? I told Will I mostly write about American Jews, but that this Jewish issue transcended borders.
Then the real purpose of the question came out. He volunteered his sense of horror about Gaza and related his shock about the circumstances of Israel’s establishment. What he believed about the history was unclear — it was loud in there, and I couldn’t quite make out his claims — but I could tell: I was being tested.
Yes, this did feel like the Jewish future: one in which any conversation about Judaism will become one about Israel or — and this is how I read the question — your Israeli politics. A future in which Jews everywhere, upon identifying themselves as Jews, are asked (or held) to account for Israel’s actions. And, frankly, a future where it is harder for Jews to make friends with non-Jews.
In another context, or a different mood, I might have been put off by the turn our conversation had taken and quit the interaction. But I liked these two old souls. I said to Will that what has happened in Gaza was terrible; as a journalist, I keep my politics close, but this was sticking to facts. And I saved the looming debate over Israeli history for another time. The three of us went back to enjoying the music and yapping about our dreams and nightmares, and when the lights finally came on at the bar, they invited me to meet them for brunch the next day. I said yes.
Part of me wanted to bring Israel up the next day, but at brunch I couldn’t find a place for it. Yet I found there were lots of opportunities to discuss Judaism. I told them about my grandmother’s recent passing, the dignity of Jewish burial rites and the intensity of shiva. We told stories, laughed, got closer: I learned that Deanna had lived in her car when she first moved to Miami, and Will showed pictures of himself in drag. When the food arrived, this fledgling trio held hands and said something like grace.
A couple hours later, we laid down towels on South Beach. Deanna stayed on the shore as Will and I waded waist-deep into the water. Here was my chance to say something about “Israeli Jews,” or invite him to ask me anything he wanted to know about Israel. But what crossed my mind in the ocean was a mitzvah I often contemplate at the beach. “In Judaism,” I explained, “there’s this practice of ritual immersion…” We never did circle back to Israel.
Florida (particularly South Florida) has come to represent the Jewish future because its Jewish community is ethnically diverse and teeming with young people. (It’s also deeply pro-Israel.) Other features seem predictive of everywhere else: Chabad reigns supreme and religious schools are heavily subsidized. The state is also a kind of extremist incubator — see gubernatorial candidate James Fishback; Florida International University’s antisemitic conservative group chat; or the Miami nightclub that played Kanye West’s “Heil Hitler” for conservative influencers — with Jews a prime subject of obsession.
Meanwhile, American Jews should expect to field uncomfortable questions from strangers about Israel and Gaza for the foreseeable future. It might not be fair, but reality rarely is. All we control — besides the weather, media and global financial system, of course — is our reaction.
The post We were instant friends. Then came the Israel question. appeared first on The Forward.
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Iran Urges Citizens to Spy on One Another as US-Israeli Strikes Cripple Regime
Smoke rises following an explosion, after Israel and the US launched strikes on Iran, in Tehran, Iran, March 3, 2026. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
Amid relentless US and Israeli airstrikes that have decimated Iran’s military capabilities and key energy facilities, Iran has called on citizens to report on each other in a new push to crush domestic dissent, as talks of a possible ceasefire remain uncertain.
On Thursday, the semi-official Fars News Agency, which is affiliated with Iran’s Islamic Revolutionary Guard Corps (IRGC), called on all Iranian citizens to help “identify those who have turned their backs on the homeland and threaten national security,” warning that “the country is facing external threats and internal betrayals.”
“Iranians will not allow this betrayal to be forgotten,” Fars wrote in a post on X, linking to a website called “Our Memory” to offer a platform for citizens to snoop and inform on each other.
“The efforts of ‘Our Memory’ also carry a clear message to those who might be contemplating betrayal or collaboration with the country’s enemies: The society is vigilant and awake, and actions that pose a threat to national security will be identified and exposed,” Fars posted.
The regime’s latest propaganda campaign of intimidation comes as Israel’s offensive increasingly focuses on dismantling Iran’s internal repression systems, aiming to create a leadership vacuum and logistical breakdown that could hinder Tehran’s ability to respond if mass protests erupt again.
Even amid Israel’s major battlefield advances, however, a senior Israeli security official said Wednesday that Iran still retains the ability to launch missiles at its current rate for the next several weeks, according to Israel’s N12 media outlet.
“Iran can maintain its current rate of missile fire for weeks,” the Israeli official reportedly said in a closed-door briefing. “It has sufficient launchers and reinforced squads to sustain and stagger the attacks over time.”
On Thursday, US President Donald Trump announced he was extending, “at the request of the Iranian government,” the deadline to strike the country’s energy grid by 10 days, as Washington works to bring a possible ceasefire deal to the table.
Should diplomatic efforts falter, the Pentagon and US Central Command are reportedly preparing military plans for a “finishing blow” on Iran, potentially involving some level of ground forces and massive airstrikes.
According to multiple media reports, Washington is considering several options against Iran, including invading or blockading Kharg Island, the country’s main oil export hub, or even seizing Arak Island to secure control over the Strait of Hormuz, a critical passage through which roughly a fifth of the world’s oil supply flows.
Other potential measures include taking Abu Musa and two close islands near the western entrance of the strait or blockading or seizing ships exporting Iranian oil on the eastern side, threatening a vital route for global energy shipments.
Since the start of the war last month, combined US and Israeli strikes have dropped more than 25,000 munitions on targets in Iran, with nearly 15,000 of those carried out by the Israeli Air Force alone, according to updated Israeli intelligence data.
“These numbers are large and significant by any measure,” a senior Israeli military officer told the Hebrew-language news site Walla.
“We are concentrating strikes on the regime’s centers of gravity in Tehran, Isfahan, and other key sites. Iran may be a large country, but hitting the very heart of its infrastructure has a profound strategic impact,” he continued.
He also said the operation, which began with “leadership decapitation” and quickly shifted to paralyzing surface-to-surface and surface-to-air missile arrays, has effectively reduced Iran’s missile firing to low single- or double-digit daily levels, far below its plan of over 100 launches per day.
So far, Israel has destroyed more than 200 launchers, even as mobile units hidden in deep tunnels continue to pose serious obstacles, which are being bombed and blocked since missiles cannot always reach their depths.
Israeli forces have also systematically targeted Iran’s weapons manufacturing, attacking over 1,000 sites to degrade production, development, and research capabilities.
According to a Reuters report, US intelligence can only confirm the destruction of about a third of Iran’s missile arsenal, while another third has likely been damaged, destroyed, or buried in underground bunkers, with a similar situation affecting the regime’s drone capabilities.
While most of Iran’s missiles have been destroyed or rendered inaccessible, Tehran still may retain a significant stockpile and, as of now, could potentially recover some buried or damaged missiles after the current fighting ends.
As the war continues to escalate, Israel has shifted its strategy, with its Air Force last week striking a major natural gas processing facility in southwestern Iran — a move that damaged roughly 40 percent of the country’s gas production capacity.
Facing a gas shortage, the Iranian government was reportedly forced to prioritize fuel for electricity production, sharply cutting civilian fuel allocations and causing major disruptions to transportation and deliveries to Turkey.
“This is just a sample of our ability to crush Iran’s energy backbone,” an Israeli security official told N12.
With the US also threatening strikes on key Iranian energy infrastructure, the Islamist regime is now facing pressure to consider a ceasefire agreement to bring the war to a close.
“The Iranians are in panic,” the Israeli official said. “They understand that further damage [to its energy facilities] will make governing the country impossible.”
In one of the latest blows to the regime, the Israeli Air Force on Friday attacked the heavy water reactor in Arak, central Iran, after Israeli intelligence detected repeated attempts to restore the site — a facility considered key for producing plutonium for nuclear weapons.
Israeli officials also confirmed an attack on Iran’s only facility in Yazd that processes raw materials into starting components for uranium enrichment, as well as multiple steel plants in a major blow to an already devastated Iranain economy.
After these attacks, the IRGC threatened to target six steel plants in retaliation, including sites in Israel, Saudi Arabia, the UAE, Bahrain, Qatar, and Kuwait.
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Man arrested over alleged firebomb plot targeting pro-Palestinian activist Nerdeen Kiswani
(JTA) — A New Jersey man was arrested on Thursday for allegedly plotting to firebomb the home of the prominent pro-Palestinian activist Nerdeen Kiswani.
Alexander Heifler, 26, was arrested by authorities in Hoboken after a weeks-long undercover operation led by the New York City Police Department revealed that he allegedly planned to throw a dozen Molotov cocktails at Kiswani’s residence.
The investigation into Heifler began in early February when Heifler discussed using Molotov cocktails on a group video call that included an undercover law enforcement officer, according to a criminal complaint filed in the U.S. District Court of New Jersey.
He later told the undercover officer that he had planned to flee the country following the attack. (The criminal complaint did not specify the name of the group or the country he planned to flee to.)
During a search of Heifler’s home Thursday night, detectives and FBI agents uncovered eight Molotov cocktails. He has been charged with unlawful possession of firearms and making of destructive devices.
In a statement Friday, New York City Mayor Zohran Mamdani said that Heifler was an alleged member of the Jewish Defense League, a far-right pro-Israel group that the has FBI labeled as a terrorist organization since 2001, and that the country he had planned to flee to was Israel.
“Last night, an alleged member of the Jewish Defense League — designated by the FBI as a ‘known violent extremist organization’ — attempted to blow up the home of Nerdeen Kiswani in a chilling act of political violence and an apparent assassination plot,” the statement read. “The defendant allegedly planned to flee to Israel following the attack. This comes amidst an alarming rise in threats and violence across the country targeting Palestinian human rights advocates.”
“Let me be clear: We will not tolerate violent extremism in our city. No one should face violence for their political beliefs or their advocacy. I am relieved that Nerdeen is safe,” the statement continued.
A police official confirmed that Heifler was a member of a branch of the Jewish Defense League on Friday, according to The New York Times.
Last month, Kiswani, who has long drawn accusations of antisemitism for her rhetoric on Zionists, sued Betar USA, a far-right militant pro-Israel group, accusing the group of violating her civil rights by putting out social media “bounties” on her and repeatedly harassing her. (In January, Betar USA agreed to dissolve its New York operations following a settlement with the state attorney general.)
The activist has also been singled out by far-right Florida Jewish Rep. Randy Fine, who reposted a tweet of Kiswani’s last month to make disparaging remarks about Muslims which sparked calls for his censure.
In a post on X, Kiswani, a Palestinian-American who co-founded the hardline pro-Palestinian group Within Our Lifetime, wrote that she had been informed by the FBI Joint Terrorism Task Force on Thursday night that “a plot against my life that was ‘about to’ take place.”
“For months, Zionist organizations like Betar and politicians like Randy Fine have encouraged violence against my family and me,” Kiswani continued. “I will have more to say as additional details come to light. I will not stop speaking up for the people of Palestine. Thank you for your support.”
In response to The New York Times’ post about the arrest, Betar USA wrote that it was “not surprising if other terrorists targeted her.”
“Violent terrorist Nerdeen Kiswani wants to globalize the intifada not surprising if other terrorists targeted her. Palestinians have always targeted one another,” the group posted on X alongside a video of Kiswani’s rhetoric. “Not surprising given the violent nature of these people who have globalized the intifada.”
The announcement of the arrest drew praise from the Jewish Community Relations Council of New York, which wrote in a post on X that there is “absolutely no place in our city for violence, threats, or attempts to take someone’s life—ever.”
“While we adamantly disagree with Nerdeen Kiswani’s inflammatory rhetoric and her organization’s tactics, we condemn in the strongest possible terms the reported plot against her,” the group said.
Brad Hoylman Sigal, the Jewish Manhattan borough president, also praised the NYPD for the arrest in a post on X.
“Grateful to @NYPDnews for their swift work in preventing this horrific plot against Nerdeen Kiswani,” Sigal wrote. “Political violence, against anyone, for any reason, has no place in our city.”
This article originally appeared on JTA.org.
The post Man arrested over alleged firebomb plot targeting pro-Palestinian activist Nerdeen Kiswani appeared first on The Forward.