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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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Pro-Israel Adrian Boafo beats crowded field to replace Maryland’s Steny Hoyer
(JTA) — Pro-Israel candidate Adrian Boafo won Maryland’s Democratic primary to fill longtime Rep. Steny Hoyer’s seat on Tuesday, after waging a campaign supported by the American Israel Public Affairs Committee at a time when other members of his party are disavowing the pro-Israel lobbying group.
Boafo, 32, is a state delegate who entered the contest with low name recognition. Hoyer hand-picked his former staffer, who managed some of Hoyer’s recent campaigns.
The octogenarian worked hard to get his protege past the finish line in Maryland’s 5th Congressional District, garnering the support of much of the state’s Democratic establishment and appearing in an ad for him. Hoyer, who was for decades the number two Democratic leader in the House, is a staunch Israel advocate and AIPAC ally who will retire this January after 45 years. Boafo won with 32% of the vote in the crowded Democratic field, with 68% of votes counted on Wednesday morning.
Boafo thanked his supporters and Hoyer late Tuesday night and said that he was Hoyer’s natural successor. “At first glance it might not seem obvious, but our stories are actually very similar,” he said. “Steny and I are both the sons of immigrants. We grew up believing in an America that drew our parents from across the sea.” Boafo’s parents are Ghanaian and Hoyer’s father was Danish.
His victory offered a glimmer of hope to the party’s pro-Israel wing, coming on the same night that three progressives who ran hard against AIPAC and the war in Gaza swept New York’s primaries, toppling powerful pro-Israel Democrats. Boafo sent a message that AIPAC still has the power to buoy Democratic candidates even as criticism of Israel surges in the progressive wing of the party and the Democratic electorate. The lobby, once seen as a necessary bipartisan stamp of approval, has become a stand-in for Israel’s influence on U.S. politics.
AIPAC poured $5.7 million into Boafo’s campaign through its super PAC, United Democracy Project.
Boafo pledged during the campaign to “strengthen the U.S.-Israel alliance” and “mobilize humanitarian aid for Palestinian civilians,” as well as to “ensure Israel has the security assistance it needs.” Military aid packages to Israel have increasingly divided Democrats amid the deeply unpopular wars fought by Israel in Gaza and Iran.
AIPAC celebrated Boafo’s victory on Tuesday night. “Boafo has made clear his vision to carry forward the strong pro-Israel legacy of Congressman Steny Hoyer, one of Congress’s most steadfast champions of the U.S.-Israel relationship,” the group said on X, adding that it was proud to “help ensure this seat remains represented by pro-Israel leadership.”
Boafo also benefited from crypto money. Protect Progress, a super PAC affiliated with the crypto industry, spent $5.5 million on the race largely to boost Boafo, who previously worked as a federal lobbyist for the technology firm Oracle.
The deluge of outside spending sparked a rebuke from Boafo’s opponents during the race. Candidates Harry Dunn, Quincy Bareebe and Rushern Baker teamed up to denounce the outlays last week, with Baker saying on a press call, “Special interests don’t spend money out of civic goodwill. They spend the kind of money that we see because they expect someone to work for them.”
Maryland Democratic Sen. Chris Van Hollen also criticized the spending this month and accused the pro-Israel and crypto groups of attempting to “buy this congressional seat.”
“Voters need to understand that these groups are not investing in this race out of charity,” Van Hollen said in a press conference this month. “They are spending because they believe the beneficiary of their spending — in this case, one candidate, Adrian Boafo — will be a dependable vote in support of their special interests.”
Boafo will face small business owner Chris Chaffee, the winner of the Republican primary, in November’s general election. Boafo is all but assured to win the deep-blue district.
This article originally appeared on JTA.org.
The post Pro-Israel Adrian Boafo beats crowded field to replace Maryland’s Steny Hoyer appeared first on The Forward.
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‘Mensch of Manhattan’ Lasher wins over Bores in fight for Nadler’s seat, media projects
(New York Jewish Week) — Micah Lasher has defeated Alex Bores in the battle for retiring Rep. Jerry Nadler’s Manhattan congressional seat, according to media projections Tuesday night.
In the race for the 12th Congressional District, the most Jewish in the country, Lasher had 40,106 votes, or 39.1 percent, and Bores collected 35,822 votes, or 35 percent, with 87 percent of the ballots counted.
The crowded field in the Democratic primary also included John F. Kennedy grandson Jack Kennedy Shlossberg, public health expert Nina Schwalbe, and George Conway, a Republican-turned-Democrat and Trump antagonist. All three were trailing well behind Lasher.
During his victory speech, Lasher pointed to both his and the district’s Jewish identity.
“It is an enormous point of pride that I will be representing the most Jewish congressional district in the country,” Lasher said. “I will always stand up for our community with pride.”
He also received a loud ovation after he thanked “the rabbis and Jewish community leaders” who helped the campaign.
A number of Lasher’s political allies and former bosses spoke, including Nadler, who’s represented the upper West Side since 1992, Gov. Kathy Hochul, Comptroller Mark Levine, and Manhattan Borough President Brad Hoylman-Sigal, who told the JTA that Lasher would be a bridge between Mayor Zohran Mamdani and the Jewish community.
Holyman-Sigal called Lasher the “mensch of Manhattan.”
Lasher thanked Nadler for his decades of service and mentorship, saying he taught Lasher things like “vision, compassion, and how to canvass voters outside Zabar’s.”
Nadler is “as much an institution in Manhattan as Central Park and pastrami on rye,” Lasher said.
The House seat — which covers the Upper West and Upper East sides and midtown Manhattan, and is seen as a crown jewel in New York politics — opened up after Nadler announced last fall that he would retire at the end of this term.
Nadler’s preferred heir was Lasher, a Jewish State Assembly member who has worked for the progressive stalwart and other prominent politicians such as Gov. Kathy Hochul and former Mayor Mike Bloomberg. Lasher has the support of those former bosses, plus much of the West Side political establishment.
Fellow Assembly member Bores, meanwhile, has built a coalition that includes both pro-Israel moderates and progressive groups critical of the Jewish state by emphasizing that he will be tough on artificial intelligence companies. Former congresswoman Carolyn Maloney, who represented much of Manhattan’s East Side from 1993 until 2023, is among Bores’ supporters.
On the subject of Israel, the makeup of the NY-12 race has been unlike other contested New York City races: Elsewhere, at least one of the two leading candidates has accmused Israel of committing a genocide in Gaza and supports placing conditions on U.S. military aid to Israel.
But Lasher and Bores both describe themselves as pro-Israel and anti-Prime Minister Benjamin Netanyahu of Israel, and neither one supports blocking weapons sales to the Jewish state.
Mamdani is himself a voter in the district as a resident of Gracie Mansion and who cast his ballot a few days ago, during the early voting period, at the Metropolitan Museum of Art. He has declined to weigh in publicly on the race. The mayor endorsed two democratic socialist candidates and Brad Lander — his Jewish ally who accuses Israel of genocide, and has positioned himself against both offensive and defensive military aid to Israel — in other races.
Lasher and Bores have both consistently advocated for universally applying the existing Leahy Law, which bars the U.S. from providing military assistance to foreign military units that violate human rights with impunity.
Schlossberg has criticized Lasher and Bores for their stance, calling it an “insufficient answer,” and advocates for blocking offensive weapons sales to Israel while still funding the Iron Dome defensive missile system. He is the only of the top-four candidates to call for conditions on aid to Israel and halting any weapons sales. After initially leading in early polls, Schlossberg’s support appears to have fallen amid questions over his lack of experience.
Conway, an anti-Trumper and longtime attorney who was married to former Donald Trump staffer Kellyanne Conway, rounds out the top four in the polling.
Throughout the election, candidates convened for forums at numerous synagogues in the heavily Jewish district — 23.3% of constituents are Jewish, according to a 2024 study — and answered questions related to antisemitism, Israel and other Jewish-related issues.
Lasher has said at multiple forums that he doesn’t see anti-Zionism as being precisely the same thing as antisemitism, but that “often when you see one you see the other.”
He and Bores have both touted their support for a statewide “buffer zone” bill — which Lasher introduced in response to pro-Palestinian demonstrations outside synagogues — that would curb protests outside houses of worship. Meanwhile, Schlossberg has pointed out at Jewish forums that the first policy his campaign released was “Jack’s Fast-Track Plan,” which would fast-track a doubling of funds for the Nonprofit Security Grant Program that funds security at houses of worship and community centers.
During a June forum at Upper West Side synagogue B’nai Jeshurun, Lasher said he felt “exhausted” by how much the political dialogue — both in the NY-12 race and more broadly — is “obsessed” with Israel.
Lasher is sure to win in November’s general election in the heavily Democratic district where he will face only token Republican opposition.
The post ‘Mensch of Manhattan’ Lasher wins over Bores in fight for Nadler’s seat, media projects appeared first on The Forward.
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I helped sell Obama’s Iran deal. Its critics owe us all an explanation.
(JTA) — Neoconservatives have some ‘splainin’ to do, as Lucy’s television husband, Ricky Ricardo used to say.
The war on Iran has turned out to be a debacle of historic proportions.
After months of military escalation, tens of billions of dollars expended, critical weapons stockpiles depleted, and a region once again thrown into crisis, the United States now finds itself humiliated. The memorandum of understanding reportedly concluded last week does not represent the culmination of victory. It represents the codification of failure.
Many understood that nuclear disarmament and regime change in Iran could not be achieved through force. As I wrote in these pages a few months ago, more than a decade ago, we reached a solution designed to avert precisely the calamity that has unfolded. It was the Joint Comprehensive Plan of Action, or, in layman’s parlance, the Iran nuclear deal.
As a certified denizen of the Swamp — I served in the Clinton White House’s communications shop and later founded a Washington, DC strategic communications firm — I was at the forefront of selling the Obama administration’s agreement to the American public.
I remember those days well — and I do not miss them.
JCPOA defenders, particularly those of us in the Jewish community, were attacked in the ugliest terms imaginable. We were called appeasers, sellouts, self-hating Jews and worse. Prime Minister Benjamin Netanyahu traveled to Washington and outrageously warned Congress that the deal might pave the way to a second Holocaust.
JCPOA advocates never argued that the agreement signed in Vienna was perfect.
Its critics pointed to the sunset provisions. They objected that the deal did not address every malign activity undertaken by the Islamic Republic throughout the Middle East. These were legitimate concerns. Politics, however, is the art of the possible; geopolitics doubly so.
That agreement nevertheless achieved something extraordinary. Iran shipped out the overwhelming majority of its enriched uranium. International inspectors gained unprecedented access. A mechanism existed to monitor and constrain Tehran’s nuclear ambitions. The prospect of military confrontation receded.
The regime’s hardliners hated the agreement. The Revolutionary Guard fought it tooth and nail. Integration into the global economy threatened entrenched interests within the Islamic Republic. A growing middle class and increasing international engagement carried risks for those whose power depended on its isolation and perpetual confrontation.
Unfortunately, hardliners were not confined to Tehran.
The maximal-pressure advocates in Washington ultimately prevailed. During the first Trump administration, the United States withdrew from the agreement. Tore it up, as the president bragged. Despite the best efforts of our European partners, who had also signed the accord, the framework collapsed beneath the weight of renewed sanctions and diplomatic abandonment.
What followed, we were promised, was supposed to vindicate the critics.
Instead, it vindicated the critics’ critics.
The maximal-pressure advocates have spent years moving the goalposts. First, we were told, sanctions would bring the regime to its knees. They did not. Then economic isolation would force Tehran to abandon its nuclear ambitions. It did not. Then military pressure would succeed where sanctions had failed. It did not. Then leadership decapitation, covert action, and military escalation would produce regime change. They did not.
Each promised but failed breakthrough gave way to another promised breakthrough.
And now comes the final indignity: the so-called memorandum of understanding.
After years of threats, sanctions, covert action, military escalation and open warfare, the United States has agreed to resume negotiations with the very regime it set out to break. The Islamic Republic remains in power. Its leadership and political system remain intact.
Nor is that all.
The agreement reportedly provides waivers for Iranian oil exports and opens the door to sanctions relief and renewed access to many billions in frozen assets. It establishes yet another negotiating process on the nuclear question rather than resolving it. It leaves unresolved many of the issues that maximal-pressure advocates once described as non-negotiable, including Iran’s missile capabilities, its regional proxy network, or the many canisters of near-bomb-grade enriched uranium — what the president calls nuclear dust.
Even the future status of the Strait of Hormuz, the critical passage for oil open before the war, and now established as a lever for Iran to exert pressure, appears destined for further negotiation rather than decisive resolution.
The advocates of maximal pressure promised a better deal than the JCPOA. They promised that Iran would be forced to make concessions unavailable through diplomacy.
Instead, after years of confrontation, Washington finds itself lifting pressure, restoring economic benefits, negotiating with a surviving regime and postponing the most difficult questions to future talks.
Hell, in Paris last week, Trump actually made the case for Iran to retain, build or buy missiles and maintain at least some nuclear power.
So, what, precisely, was achieved?
The tragedy is not merely that the war failed to accomplish its objectives. It is that we already possessed a framework that constrained Iran’s nuclear program without requiring military confrontation. The Joint Comprehensive Plan of Action was imperfect, to be sure. Its supporters never claimed otherwise. But it reduced risk, established verification mechanisms and avoided precisely the cycle of escalation that has consumed the past decade.
Its opponents insisted there was a better way.
History has now rendered its verdict.
The United States ultimately abandoned a functioning diplomatic framework in pursuit of fantasies that proved unattainable. Having exhausted sanctions, threats and military force, it has arrived back at the negotiating table poorer, weaker and in possession of less leverage than before.
I’m afraid I told you so.
The defenders of the JCPOA were mocked as appeasers. Yet the memorandum of understanding now before us amounts to an admission of the very proposition we advanced all along: However distasteful it may be, the Islamic Republic is not a problem that can be bombed or sanctioned out of existence.
Diplomacy could have spared us the war.
This article originally appeared on JTA.org.
The post I helped sell Obama’s Iran deal. Its critics owe us all an explanation. appeared first on The Forward.

