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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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Behind Ronnie Eldridge’s sweet, motherly face, one of the toughest political minds in NYC
When news arrived that Ronnie Eldridge had passed away at the age of 95, I thought back to the mid-1980’s when I made a number of visits to the apartment on Central Park West that she shared with the legendary newspaper columnist Jimmy Breslin and their blended family of six kids. At the time I was doing stories for NPR about Breslin and his passionated denunciation of municipal authorities for their neglect of city’s homeless. Sometimes I’d record Breslin at home.
I couldn’t help noticing that almost every time I was in that apartment, Eldridge was on the phone with an autistic Jewish man named Ralph. I tend to notice things like that because my brother Michael, olav ha sholom, was autistic.
According to Daniel Eldridge, the eldest of the three Eldridge “kids,” his mother met Ralph at a Robert F. Kennedy presidential campaign event in 1968. Apparently, a campaign volunteer who was manning the door was giving Ralph a hard time.
Ronnie Eldridge intervened and declared that Ralph, who she had never met before, was her friend and he was to be allowed in. Daniel Eldridge told me his mother spoke with Ralph nearly every day after that.
Because my conversation with Daniel Eldridge was conducted on speakerphone, Eldridge’s granddaughter, Sophie Silberman, piped up.
“She looked after everybody with kindness and devotion,” Silberman said. “She knew that she was significant to Ralph and it didn’t take much to keep that part of his life alive and it meant the world to Ralph.”
Big shoes to fill
That kindness and devotion echoed in several recollections of Eldridge’s public life today.
Ruth Messinger, a former city council member who went on to lead the American Jewish World Service, told me that Eldridge “was very savvy.”
“She was a no-nonsense person,” Messinger said. “If there was an issue, if there was a problem, she would take it on. She was a seriously progressive presence for many, many years. She pursued the issues and stood up for justice.”
“She was just an institution all by herself,” said her successor in the New York City Council, Gale Brewer.
Eldridge represented an Upper West Side district in the Council for 12 years before being term-limited out of office. “Her shoes were very big shoes to fill,” Brewer said.
Eldridge was one of the sponsors of a 1992 law that required cameras be placed in facilities that house automated teller machines. She was motivated to win passage, having been held up using an ATM in her neighborhood.
Brewer is one of many public officials and activists who are remembering Eldridge’s advocacy on behalf of the most vulnerable members of society, including the LGBTQ community and women who have been abused by their spouses or boyfriends. She remembers Eldridge visiting incarcerated women who were doing time for crimes linked to their experience as battered women.
“She put that issue on the map,” Brewer told me.
The conscience of the Lindsay administration
Eldridge was one of the anti-war activists in the 1960’s who made mountains move on the national level. During the war in Vietnam she helped found the “Dump Johnson” movement, which in turn sparked President Lyndon Johnson’s decision to forego re-election in 1968. That prompted Robert F. Kennedy to enter the race. Eldridge was keen on RFK. She was a young mother in 1964 when she volunteered his campaign for the U.S. Senate.
During the ’68 presidential campaign, RFK said of Eldridge, “Behind that sweet, motherly face, Ronnie Eldridge has one of the toughest political minds in the city, if not the country.” She used the quote on a campaign poster for her unsuccessful bid to become Manhattan Borough President in 1977.
Eldridge’s activism also paid dividends on the local level. She served as the coordinator of Democrats for Lindsay and helped the Republican mayor win re-election in 1969 on the Liberal Party line. She was a political strategist for Lindsay and was known as the conscience of the Lindsay administration.
Around that time, she was part of a group that included the singer Harry Belafonte challenging the license of television station WPIX. The challenge dragged on for nine years but in 1978 an out of court settlement put about $10 million into the entity that challenged the license. I learned about all this when I asked Eldridge how she came to possess that very valuable Central Park West apartment.
A tabloid life
A number of Eldridge’s close friends have remarked that being married to Jimmy Breslin may’ve come with some perks, it must’ve been a challenge as well. For those of us who read Breslin religiously in the New York Daily News and New York Newsday, some of the gruff newspaper columnist’s more entertaining columns chronicled the foibles of the interfaith family’s Upper West Side life together.
This shtick inspired a pilot for a 1989 CBS sitcom about a NYC newspaper columnist and a mayoral aide. American Nuclear was co-written by Breslin but the network ultimately decided not to pick up the series.
In a 2004 for a radio documentary interview about her husband, I asked Ronnie Eldridge about having her domestic life portrayed in a tabloid
“The first time it happened everybody was hysterical,” she said. “I had a daughter in Paris. She called from Paris and was in tears. A daughter at college, she was also in tears. And my son in California said, ‘What’s going on?’ And then Jimmy’s family said, ‘Oh, just don’t pay any attention to it.’”
“When I was in the city council, I would just pretend that I didn’t read the paper. He would write articles. condemning and attacking colleagues of mine. I’d have to go into the city council and, see somebody that he’d just called unmentionable names. So, I just learned to leave it alone.”
A memorial service will be held for Ronnie Eldridge on Wednesday, March 11 at 4:30 p.m. at the New York Society for Ethical Culture, 2 West 64th Street in Manhattan.
The post Behind Ronnie Eldridge’s sweet, motherly face, one of the toughest political minds in NYC appeared first on The Forward.
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New Analysis Questions Legality of Campus BDS Efforts Against Israel
Cornell’s divestment protests continued during the university’s commencement ceremony, May 25, 2024, during which students interrupted a speech by President Martha Pollack with chanting and canvas signs. Photo: Reuters Connect
A newly released research paper is raising fresh legal questions about the wave of campus and institutional campaigns calling for divestment from Israel, arguing that such efforts may violate anti-discrimination laws in the United States.
The report, published by Northwestern Law School professor Max M. Schanzenbach and Harvard Law School professor Robert H. Sitkoff, examines the growing push by activists affiliated with the global boycott, divestment, and sanctions movement (BDS), which urges governments, universities, and companies to cut economic ties with Israel in the first step to the Jewish state’s eradication.
According to the paper, divestment campaigns that single out Israeli institutions or businesses could potentially run afoul of state and federal laws that prohibit discrimination based on national origin.
BDS advocates argue that their campaign is a form of political protest designed to pressure Israel to change its policies. The movement, formally launched by anti-Israel activists in the mid-2000s, has called for boycotts of Israeli goods, divestment from companies linked to Israel, and government sanctions.
But the new analysis contends that when governments or public institutions adopt such policies, the underlying legality could be questionable. The authors argue that targeting Israel specifically for economic exclusion could conflict with existing anti-discrimination statutes or state laws aimed at preventing boycotts of Israel.
More than half of US states have enacted legislation limiting participation in BDS-related boycotts or requiring government contractors to certify that they are not boycotting Israel. In some states, including California, laws restrict the awarding of public contracts or funding to organizations that participate in boycotts targeting the country.
The paper also challenges the argument frequently made by BDS supporters that such boycotts are protected under the First Amendment to the US Constitution. While individuals may advocate for boycotts as political speech, the authors argue that institutional policies, particularly those adopted by government bodies or public universities, could still violate anti-discrimination or procurement laws depending on how they are implemented.
The paper raises potential anti-discrimination concerns surrounding divestment campaigns that target Israeli companies. The authors argue that some boycott or divestment proposals could expose universities or public institutions to legal vulnerability if investment decisions are based primarily on a company’s Israeli national origin rather than specific conduct. Under certain US civil rights laws and state policies governing public institutions, actions that single out individuals or entities because of national origin may trigger discrimination claims. The paper suggests that if divestment policies are framed broadly against Israeli businesses as a category, rather than tied to particular corporate activities, institutions implementing them could face legal challenges alleging unequal treatment.
The analysis argues that modern divestment campaigns targeting Israel differ significantly from the anti-apartheid divestment movement against South Africa. The paper contends that while many universities in the 1980s adopted selective restrictions on companies directly tied to South Africa’s apartheid system, often aligned with international sanctions and corporate conduct codes, the current iteration of the BDS campaign against Israel frequently calls for broader exclusions based on a company’s ties to Israel itself, potentially creating legal risks such as national-origin discrimination issues.
Divestment campaigns have become especially prominent in recent years on US college campuses, where student groups have pushed universities to withdraw endowment investments from companies tied to Israel or its military. Critics, however, argue the campaigns unfairly single out the world’s only Jewish state and risk creating discriminatory policies against Israeli businesses or academics.
In the two years following the Hamas-led Oct. 7, 2023, massacre of 1,200 people and kidnapping of 251 hostages throughout southern Israel, campus activists have intensified efforts to implement divestment policies on university campuses. While universities have mostly resisted these efforts, federal lawmakers have advanced legislation to truncate divestment initiatives before they gain traction. For instance, in 2024, Congress introduced “The Protect Economic Freedom Act,” which would render universities that participate in the BDS movement against Israel ineligible for federal funding under Title IV of the Higher Education Act, prohibiting them from receiving federal student aid. The bill would also mandate that colleges and universities submit evidence that they are not participating in commercial boycotts against the Jewish state.
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UK Holds Four Men on Suspicion of Iranian Spying on Jewish Sites
Director General of MI5 Ken McCallum delivers the annual Director General’s Speech at Thames House, the headquarters of the UK’s Security Service, in London, Britain, Oct. 16, 2025. Photo: Jonathan Brady/Pool via REUTERS
British police arrested four men on Friday on suspicion of helping Iran’s intelligence services carry out surveillance of people and locations linked to the Jewish community in London.
Detectives said one of the men was Iranian, while three had dual British-Iranian nationality. The arrests were part of a “long-running investigation,” police added, indicating the men‘s alleged activities pre-dated the US and Israeli bombardment of Iran, which started last Saturday.
British lawmakers and the domestic spy agency MI5 have long warned of threats posed to Britain by Iran. Three Iranians were charged with offenses under Britain’s National Security Act relating to assisting a foreign intelligence service last May.
In a separate investigation last year, police arrested five men, four of them Iranian, over a suspected plot to target specific premises, which British media said was the Israeli embassy. They were later released without charge.
“The Jewish community and the wider public will understandably be concerned by today’s arrests. We continue to monitor the situation closely,” interior minister Shabana Mahmood said on X.
Police said the four detained men were aged between 22 and 55. Six others were also arrested on suspicion of assisting an offender, and police said searches were ongoing.
Speaking about the current Iranian conflict on Thursday, Prime Minister Keir Starmer warned that people would use it to divide the country.
“The government is reaching out to communities across the United Kingdom – Jewish and Muslim alike – making sure communities and places of worship have appropriate, protective security in place,” he told a press conference.
Illustrating the threat from Iran, Britain’s MI5 spy boss said that over two years from 2022-2024, his service and British police had responded to 20 Iran-backed plots to kidnap or kill British nationals or individuals based in Britain who were regarded by Tehran as a threat.
Britain also recorded a 4% rise in antisemitic incidents in 2025, making it the second-worst year on record, a charity said. Two men were killed last October during an attack on a synagogue in the northern English city of Manchester.