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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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California Democrat Scott Wiener Accuses Israel of ‘Genocide’ in Sharp Reversal Following Debate Backlash
California State Sen. Scott Weiner. Photo: Screenshot
California State Sen. Scott Wiener, a Democrat seeking to succeed former House Speaker Nancy Pelosi in the US Congress, announced on Sunday that he believes Israel’s military campaign in Gaza meets the definition of “genocide,” a sharp reversal from a recent debate in which he declined to use the term.
Wiener’s declaration came after a contentious candidate forum last week in San Francisco, during which he declined to answer a direct question about whether he believed Israel was committing genocide in Gaza. That hesitation was met with jeers from the audience.
In a video posted Sunday on the X social media platform, Wiener, who is Jewish, said he had “stopped short of calling it genocide, but I can’t anymore,” citing the “devastation and catastrophic death toll” in Gaza as justification for using the term. Weiner also accused Israeli officials of making “genocidal” statements while justifying their military operations against the Palestinian terrorist group Hamas in Gaza and claimed that Israel schemed to “destroy Gaza and push Palestinians out.”
The state senator also acknowledged the emotional weight the word holds for many Jews, given its origins in describing the Holocaust.
For years, I’ve condemned Netanyahu and his extremist government and the devastation they’ve inflicted on Gaza. It’s why I’ve been clear I won’t support U.S. funding for the destruction of Palestinian communities. I’ve stopped short of calling it genocide, but I can’t anymore. pic.twitter.com/71nIt6K527
— Senator Scott Wiener (@Scott_Wiener) January 11, 2026
Denying accusations of genocide, Israel says it has gone to unprecedented lengths to try and avoid civilian casualties, noting its efforts to evacuate areas before it targets them and to warn residents of impending military operations with leaflets, text messages, and other forms of communication.
Another challenge for Israel is Hamas’s widely recognized military strategy of embedding its terrorists within Gaza’s civilian population and commandeering civilian facilities like hospitals, schools, and mosques to run operations and direct attacks.
Wiener’s accusation of genocide marks a complete reversal not only from his recent debate answer but also from a new profile of him published in The Atlantic, in which he denied accusations of genocide lobbed at Israel and decried the weaponization of the war in Gaza as a “purity test.” He compared such ideological mandates to medieval attempts to divide the Jewish community between “good Jews” and “bad Jews.” Weiner also argued that Jewish liberals are being pushed out of progressive spaces if they don’t demonstrate sufficient hatred for Israel.
“If part of your Jewishness is, you know, that you support the homeland of the Jews and the home of one-half of all Jews on the planet, then that makes you a bad Jew,” Weiner said. “If you’re not willing to use the exact language that we want you to use, then you’re a bad Jew.”
The article came out on Sunday, the same day of his social media post accusing Israel of genocide.
Weiner has been a frequent target of anti-Israel demonstrators. In October, a group of agitators confronted the state lawmaker and accused him of supporting “genocide.”
Mallory McMorrow, a Democratic candidate for US Senate in Michigan, similarly lamented that accusations of “genocide” against Israel are becoming a “purity test” within Democratic primaries. She argued in a new interview with Detroit Public Radio that there exists a “broadly shared goal among most Michiganders, that this violence needs to stop, that a temporary cease fire needs to become a permanent cease fire, that Palestinians deserve long term peace and security, that Israelis deserve long term peace and security.”
However, the candidate argued, “I also feel like we are getting lost in this conversation, and it feels like a political purity test on a word — a word that, by the way, to people who lost family members in the Holocaust, does mean something very different and very visceral.”
McMorrow, who has previously claimed she agrees that Israel committed a so-called “genocide” in Gaza, suggested that some candidates in the race are “using this as a political weapon and fundraising off of it.” Abdul El-Sayeed, a progressive Democrat in the Senate race, has condemned Israel for committing “genocide” and has called for an arms embargo on the Jewish state.
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Megyn Kelly Gushes Over Nick Fuentes: ‘There Is Value to Be Derived From That Guy’s Messaging’
Megyn Kelly hosts a “prove me wrong” session during AmericaFest, the first Turning Point USA summit since the death of Charlie Kirk, in Phoenix, Arizona, US, Dec. 19, 2025. Photo: REUTERS/Caitlin O’Hara
Megyn Kelly expressed her sympathies for white nationalist Nick Fuentes and antisemite Candace Owens, two Holocaust deniers who are rising in popularity among millennials and Gen Zers, in a video interview with fellow right-wing podcaster Tucker Carlson published last week.
Immediately following the murder of prominent conservative activist Charlie Kirk last year, Owens began promoting the conspiracy theory of Israeli involvement, sentiments likewise promoted by Carlson.
“And then came Candace Owens. And she really drives people crazy. She drives them crazy,” Kelly said, provoking snickers from Carlson. “Very angry. I didn’t call her out for Israel possibly being involved with Charlie Kirk. Well, I didn’t call her out because I was totally fine with those questions being raised.”
Kelly then raised her open palm to her face and declared, “And still am!”
Carlson cackled again in response and Kelly continued, insisting, “But I am. I’m sick of this bulls–t. I’m allowed to have questions about what if anyone aligned with Israel or from Israel might have had to do with Charlie’s death.”
Kelly: “I am sick of this ********! I am allowed to have questions about what if, anyone, aligned with Israel or from Israel might have had to do with Charlie’s death.”
She’s gone, folks. Stop giving her the benefit of the doubt.
— Bonchie (@bonchieredstate) January 8, 2026
In October, Florida state Attorney General James Uthmeier announced charges against Nicholas Ray of Spring, Texas for alleged death threats made with a “zionistarescum” X account against Jewish conservatives identified online by Owens as allegedly involved in Kirk’s murder.
There has been no actual evidence showing Israeli complicity in Kirk’s murder, for which Tyler Robinson, 22, has been charged. He was romantically involved with his transgender roommate, and prosecutors have reportedly argued that Kirk’s anti-trans rhetoric was a key factor that allegedly led him to shoot the Turning Point USA founder.
Kelly also praised Fuentes during her conversation with Carlson.
“He’s very interesting and he’s very smart,” Kelly said of Fuentes, who has praised Adolf Hitler. “And on a lot of things there is value to be derived from that guy’s messaging. I’m sorry, but he actually has a lot of things he talks about that you’re like ‘that’s not a bad point about our country.’”
Adopting a mocking affectation, Kelly said, “I won’t condemn and say that Candace Owens is hateful. They want me really, really badly to condemn Candace Owens. And I’m sorry to break it to them but I am responsible for what I say. Not for what anybody else says. I am not Candace Owens’s policeman. And by the way they’re kidding themselves that if just one more voice will say something nasty about Candace she can finally be controlled.”
In response to right-wing X influencer Ian Miles Cheong (who has 1.2 million followers and reportedly posts from Malaysia) sharing a clip of this statement, Kelly raged back: “You’re a pathetic misinformation whore. I was explaining why young white men are listening to Fuentes & made clear that while I believe he makes interesting points about the govt etc I was not speaking about his thoughts on Jews, women, blacks etc. F–k you & your lies.”
In December, the Network Contagion Research Institute (NCRI) released a report analyzing online support for Fuentes, suggesting he has received a major boost from inauthentic amplification by anonymous actors in foreign countries such as India, Pakistan, Nigeria, Malaysia, and Indonesia. For example, the research revealed that “in a sample of 20 recent posts, 61% of Fuentes’s first-30-minute retweets came from accounts that retweeted multiple of these 20 posts within that same ultra-short window – behavior highly suggestive of coordination or automation.”
Earlier this month, Owens blamed Zionists for inspiring US President Donald Trump to capture Venezuelan President Nicolas Maduro.
On Tuesday, Fuentes wrote on X in reference to Venezuela: “Your oil, our choice. Forever [American flag rmoji],” a reference to his infamous popularization of the phrase “your body, my choice” among his Groyper followers.
Fuentes described his views on Venezuela on Jan. 3, explaining that while he thought the military action “initially seemed like a solid operation to cleanly, bloodlessly, and quickly remove Maduro from power last night” he thought “this new policy of ‘running Venezuela’ with US soldiers sounds like a massive over-commitment. I have zero confidence in nation-building. Big mistake.”
The next day Fuentes continued on X, articulating his foreign policy vision of banditry, fantasizing, “Now that Venezuela has been liberated, we must send every single Venezuelan illegal, refugee, and criminal back home. Take the oil, remigrate the foreigners.”
On Sunday, Fuentes promoted another conspiracy theory, asserting that “the chaos in Iran is totally astroturfed by Israel and the US for regime change. This was always their endgame after over a decade of industrial sabotage, sanctions, political subversion, & espionage. Why do you think Iran wanted nuclear weapons? To prevent this exact scenario.”
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Fundraiser for ICE agent who killed Renee Good includes antisemitic attack on Minneapolis Mayor Jacob Frey
(JTA) — Supporters of the Immigration and Customs Enforcement officer who shot and killed Renee Good, a U.S. citizen, in Minneapolis last week are flocking to an online fundraiser to, in its organizer’s words, “Defend the Agent Who Stopped a Deadly Attack on America’s Border Enforcers!”
Included in the fundraiser’s pitch: antisemitic language directed at the city’s Jewish mayor, Jacob Frey.
After stating that Good had engaged “in a blatant act of domestic terrorism aimed at killing or maiming the men protecting our borders from the endless invasion,” the description continued: “But this didn’t happen in a vacuum — it’s the direct result of anti-American traitors like Minneapolis Mayor Jacob Frey (who is Jewish) fanning the flames of resistance.”
The description went on to call Frey a “sanctuary city traitor” and states, “His rhetoric empowers violent agitators, turning Minneapolis into a warzone for our heroes enforcing the law and deporting the hordes that weak leaders like him protect.”
The fundraiser was posted Jam. 7 on GiveSendGo, a crowdfunding website popular with right-wing causes, and has raised more than $186,000 of its $200,000 goal as of Monday afternoon. The co-founder of GiveSendGo, Jacob Wells, has promoted the campaign extensively and claims to have corresponded directly with the ICE agent, Jonathan Ross.
“God bless you all! Keep sharing,” Wells wrote on the social network X, receiving positive responses from the actor Dean Cain, among others.
After being circulated online and verified by the Jewish Telegraphic Agency, the clause “(who is Jewish)” was removed from the description of Frey late Monday.
The campaign’s organizer is named as “Tom Hennessey,” and appears to have launched the fundraiser before Ross himself was identified. The campaign does not name Ross.
An account named “TomHennessey69” on X who has claimed credit for the fundraiser bills himself as a “white independent journalist” and “soap enthusiast.” In addition to a stream of anti-immigration rhetoric, Hennessey has also made several antisemitic posts, including one on Monday that blamed Jews for the recent Hanukkah mass shooting in Australia.
“Notice the pattern? Jews arrive in Australia, flood it with non-Whites. Non-Whites rampage—eventually turning on Jews. Jews then push new anti-semitism laws aka free speech bans, gun control to disarm Whites, and ban White nationalist groups for noticing,” Hennessey wrote, adding, “Australia, not a good look for jewish diaspora, many such cases.” In another reply to his post, Hennessey endorsed a neo-Nazi account’s pro-Hitler message.
Hennessey has also used similar language as the fundraiser’s to describe his own Jewish opponents.
Online, the GiveSendGo link has been promoted by figures including Turning Point USA pundit Jack Posobiec and Minnesota-based right-wing journalist Liz Collin.
It is not the only fundraiser to have been set up by self-proclaimed supporters of Ross since Good’s killing. A separate campaign without antisemitic language launched on GoFundMe, a more mainstream crowdfunding website, has raised more than $467,000 to date since its launch on Friday.
The largest donation to date on the GoFundMe fundraiser, $10,000, came from Bill Ackman, the Jewish activist investor who has become a prominent advocate against antisemitism.
“I am [a] big believer in our legal principal [sic] that one is innocent until proven guilty,” Ackman wrote on X over the weekend, in a post about why he donated. He added that he had “intended to similarly support the gofundme for Renee Good’s family” but that “her gofundme was closed by the time I attempted to provide support.”
Comments online suggest that the two fundraisers for Ross may be linked and may have a direct line to Ross himself.
In a Sunday update, the GoFundMe campaign’s organizer, Clyde Emmons, wrote, “the creater [sic] of the givesendgo fund has direct contact with Johnathan! so I am in contact with him gave him my number and he said he would pass it onto John himself so I can finally add him as the beneficiary so he can get these funds he deserves.”
On X, Collin wrote that she was in contact with both organizers and that the GiveSendGo campaign is “now the preferred method to donate to the ICE agent.”
The fundraisers for Ross were launched partly as a response to a GoFundMe for Good’s family, which raised more than $1.5 million before its organizers closed donations.
“Renee was a Christian who knew that all religions teach the same essential truth: we are here to love each other, care for each other, and keep each other safe and whole,” that campaign’s organizers wrote.
Comparisons between ICE agents and Nazis or the Gestapo have grown since the agency has stepped up its presence in American cities under President Donald Trump’s mass deportation plans. Some Jewish communal leaders, including several in Minnesota, have vocally criticized ICE’s actions, with a few linking them to the memory of the Holocaust.
Since Good’s killing, Frey has vocally criticized ICE’s presence in Minneapolis, using an expletive in a press conference as he urged the agents to leave. The fundraiser’s description of the mayor notes this, also blasting Frey for his executive orders.
“These agents are the tip of the spear in reclaiming our country from the illegal invasion—deporting criminals, invaders, and threats that politicians like Frey invited in and shield,” the description states.
It concludes: “Stand tall: Donate today to send a message that we back the men removing illegals and invaders from our soil, no matter the sabotage from mayors who put foreigners over Americans. No apologies, no retreat—Mass Deportations Now!”
The post Fundraiser for ICE agent who killed Renee Good includes antisemitic attack on Minneapolis Mayor Jacob Frey appeared first on The Forward.