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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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Board of Peace Publishes Roadmap for Gaza Peace Plan
Palestinians walk among piles of rubble and damaged buildings in Khan Younis in the southern Gaza Strip, Nov. 24, 2025. Photo: REUTERS/Ramadan Abed
The US-led Board of Peace has unveiled an ambitious roadmap aimed at bringing the Gaza war to an end, dismantling Hamas’s military capabilities, and replacing its rule with a new governance structure backed by international oversight and Palestinian technocrats.
The plan, presented by the Board of Peace’s director-general and high representative for Gaza, Nickolay Mladenov, marks the most comprehensive effort yet to convert a fragile ceasefire into a durable post-war agreement, one that requires Hamas’s disarmament as a necessary component for any political or economic future for the enclave.
Calling Hamas’s refusal to lay down its arms and relinquish control the “principal obstacle” to implementation, Mladenov told the UN Security Council in New York on Thursday that “reconstruction financing [for Gaza] will not follow where weapons have not been laid down. No investment, no movement, no horizon.”
US President Donald Trump set up the Board of Peace to oversee his plan to end the Israel-Hamas war in Gaza, a conflict started by the Palestinian terrorist group’s Oct. 7, 2023, invasion of and massacre across the Jewish state. The UN has recognized the board, although several countries opted not to join despite being invited to do so.
After Israel and Hamas agreed to a ceasefire in October, Israeli forces partially withdrew and now control at least 53 percent of Gazan territory, with Hamas ruling the rest of the Palestinian enclave and the vast majority of its residents. Talks to further the peace plan have stalled since then, with Hamas tightening its control over its part of Gaza, largely through a brutal crackdown, and working to rebuild its military capabilities.
“The risk is that the deteriorating status quo becomes permanent – a divided Gaza, Hamas holding military and administrative control over 2 million people across less than half the territory,” Mladenov told the Security Council.
His proposal calls for a strict sequencing of steps that conditions reconstruction and political transition on Hamas giving up its weapons and military infrastructure.
According to Mladenov’s presentation and supporters of the plan, rebuilding efforts cannot credibly proceed while an armed terrorist organization retaining control over territory, borders, and civilian life. Earlier this month, for example, Hamas members blocked international efforts to begin reconstruction work in Rafah, a city in southern Gaza, threatening contractors who were set to enter an area under Israeli control in coordination with Israeli and American forces to begin reconstruction work funded by the United Arab Emirates (UAE).
Mladenov contended that efforts to rebuild the infrastructure of Gaza will commence when “commitments to stop internal killings, prohibit reprisals, ban armed demonstrations, and end displays of armed force.”
“The faster implementation progresses, the faster Gaza can begin rebuilding homes, schools, hospitals, infrastructure, and economic life at scale,” he said.
Under the roadmap, Hamas would be required to surrender its heavy weapons, dismantle its tunnel networks, and withdraw from any governing role in Gaza. Security responsibilities would gradually shift toward vetted local Palestinian forces supported by international partners, in what is designed as a phased transition rather than an immediate power vacuum. Israeli officials and supporters of the framework have emphasized that this sequencing is essential to prevent a repeat of past cycles in which reconstruction and governance reforms were ultimately overtaken by renewed militarization.
The governance model outlined by the Board of Peace envisions Gaza being administered through a hybrid structure combining a Palestinian technocratic committee responsible for day-to-day civil affairs with an international supervisory body tasked with overseeing reconstruction funding, security benchmarks, and implementation of the broader transition plan. The aim, according to officials involved in the effort, is to bypass Hamas entirely while also avoiding a return to full Israeli administrative control, instead placing long-term coordination under an internationally backed framework.
Reconstruction itself would be tightly tied to compliance with security conditions, meaning that large-scale rebuilding of housing, infrastructure, and utilities would only accelerate once demilitarization milestones are met. The board has also been pressing donor countries to follow through on approximately $17 billion in pledged reconstruction funding, warning that only a small portion of those commitments has been disbursed so far, leaving early recovery efforts stalled despite widespread international promises.
That funding gap has emerged as one of the central obstacles to implementation. While donor states signaled major financial support during earlier conferences, officials say the lack of actual disbursement has left the plan underpowered at a critical moment, effectively freezing reconstruction on paper while humanitarian needs continue to persist on the ground.
Hamas, for its part, has rejected the framework’s core premise, insisting that disarmament cannot be separated from a full Israeli withdrawal and broader political guarantees. The group has accused international mediators of advancing a process that ignores what it describes as unresolved core issues of sovereignty and ceasefire enforcement, deepening the diplomatic deadlock that has defined previous attempts to stabilize Gaza.
Israel has said it will not withdraw its forces any further until Hamas, which openly seeks the Jewish state’s destruction, disarms.
Despite the ceasefire framework that underpins the Board of Peace initiative, the situation on the ground remains fragile, with sporadic violence, unresolved security disputes, and widespread displacement continuing to strain civilian life. Humanitarian conditions remain severe, and reconstruction has yet to meaningfully begin at scale, reinforcing the sense that the political framework and the realities in Gaza are still far apart.
In statements to the UN Security Council, Mladenov warned that intermittent violence in Gaza risks “unraveling” the unstable ceasefire.
“There is no third option,” he stressed. “There never was, and the people of Gaza should not be made to wait while some pretend there is.”
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Giuliani Says Mamdani Has ‘Hatred’ for Jews for Declining to Attend Israel Day Parade in New York City
Former Donald Trump lawyer and former New York City Mayor Rudolph Giuliani arrives at US federal court in New York City, US, Nov. 26, 2024. Photo: REUTERS/Brendan McDermid
Former New York City Mayor Rudy Giuliani has lambasted the city’s current mayor, Zohran Mamdani, for the latter’s decision not to attend the annual Israel Day parade, which is set to take place later this month.
“Mamdani’s decision to snub the Israel Day Parade demonstrates his deep disdain and hatred of the Jewish community,” Giuliani, a Republican, told the New York Post on Wednesday. “When you combine this with his failure to attend the investiture of the new Catholic Archbishop [Ronald Hicks], a pattern emerges, revealing a man on a mission to tear down the foundations of Western civilization.”
Mamdani, a far-left democratic socialist, has made fierce anti-Israel activism a cornerstone of his political career, leading many Jewish leaders and other critics to accuse him of antisemitism.
“Have New Yorkers awakened to the fact that they made a disastrous decision in November 2025 by electing this man?” added Giuliani, who served as New York City’s mayor from 1994 through 2001.
Mamdani confirmed earlier this month that he will skip this year’s Israel Day Parade. However, the avowed anti-Zionist first indicated that he would not attend the event in October 2025, the month before his election. At the time, he told the Jewish Telegraphic Agency that he looked forward “to joining — and hosting — many community events celebrating Jewish life in New York and the rich Jewish history and culture of our city,” but not including the parade.
“While I will not be attending the Israel Day Parade, my lack of attendance should not be mistaken for a refusal to provide security or the necessary permits for its safety,” Mamdani said last year. “I’ve been very clear: I believe in equal rights for all people — everywhere. That principle guides me consistently.”
Mamdani is reportedly the first mayor of New York City to skip the Israel Day Parade, which has been held annually since 1964. The parade takes place along Manhattan’s Fifth Avenue and is set this year for May 31 under the theme, “Proud Americans, Proud Zionists.”
For what is believed to be the first time in history, a Muslim group will march in the parade. Supporters of the nonprofit American Muslim & Multifaith Women’s Empowerment Council will participate and be led by Anila Ali, the organization’s board chair and president.
As a supporter of the boycott, divestment, and sanctions (BDS) movement against Israel, Mamdani has been highly critical of the country and has refused to recognize it as a Jewish state. New York City is home to the world’s largest population of Jews outside of Israel.
“Since the very first Israel Parade in 1964, every single sitting mayor of New York City has joined in the festive celebrations. New York has historically been proud of its deep relationship with Israel. Not joining the parade is an affront to the history of New York City,” Moshe Davis – former executive director of the Mayor’s Office to Combat Antisemitism, a body formed by Mamdani’s predecessor, Mayor Eric Adams – told Fox News Digital.
Adams told the news outlet that the Israel Day Parade “is a testament to one of New York City’s most important relationships.”
“From health care to technology to innovation, Israel and New York City are partners in building a better future,” he explained. “I want every New Yorker to join the Parade on Fifth Avenue because celebrating this bond isn’t just for the Jewish community; it’s for our entire city.”
Last week, Mamdani posted a video on social media in honor of “Nakba Day.” The word “nakba” is Arabic for “catastrophe” and used by Palestinians to describe Israel’s founding and the displacement of hundreds of thousands of Arabs during Israel’s 1948 War of Independence.
Many Arabs left for varied reasons, including that they were encouraged by Arab leaders to flee their homes to make way for the invading armies to destroy the nascent Jewish state. At the same time, about 850,000 Jews were forced to flee or expelled from Middle Eastern and North African countries in the 20th century, primarily in the aftermath of Israel’s declaring independence.
Several pro-Israel Jewish groups found the video posted by Mamdani offensive, and as a result, some Jewish leaders decided not to attend a pre-Shavuot event Mamdani hosted at Gracie Mansion in honor of Jewish Heritage Month.
The UJA Federation of New York and the Jewish Community Relations Council of New York, both of which are organizing the Israel Day Parade, declined to attend the gathering. They told the New York Post they made the decision because the event’s host is a mayor who “denies the core pillar of our heritage, the State of Israel as the homeland of the Jewish people.” At the event, Mamdani announced that his administration will allocate $26 million annually to expand efforts made by the city’s Office for the Prevention of Hate Crimes.
Since Mamdani assumed office, Jews have been targeted in the majority of all hate crimes committed in New York City, continuing a troubling trend of rising antisemitism following Hamas’s Oct. 7, 2023, massacre across southern Israel.
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Vermont Police Investigate Anti-Israel Vandalism of Jewish-Owned Store as Possible Hate Crime
Graffiti is seen on the windows of DG Bodyworks in Cavendish on Wednesday, May 20, 2026. The Vermont State Police has partially redacted profanity that appears on the window to the right. Photo: Vermont State Police
A Jewish woman’s store in Vermont was vandalized early Wednesday morning with anti-Israel graffiti in an incident that police are investigating as a possible hate crime.
“Free Palestine” and “F–k Israel” were spray-painted on the windows of DG Bodyworks, where Israeli flags were on display.
Vermont State Police said they are investigating the vandalism in the Windsor County town of Cavendish as a possible hate crime and will inform the Attorney General’s Office of the incident. Officers who responded to the crime scene reviewed security footage and saw an individual vandalizing the store with purple spray paint during the early hours of Wednesday morning. Police released a photo of the suspect, a white male who wore a cap and covered his face while spray-painting the messages.
Shop owner Denise Gebroe said that her store was targeted because she is Jewish and that while she was “shaken” to discover the graffiti, “I am OK and will not be broken.”
“This was an act of intimidation directed at me because I am Jewish,” she added, in a statement shared with The Algemeiner by Vermont Friends of Israel. “I made Vermont my home because I love it here, but it does not feel the same as it once did. Incidents like this are happening more than many people realize, and most go unreported. I fear for the future of the Jewish community here, and Jewish friends of mine have already left.”
In a statement given to The Algemeiner, Mark Treinkman, president of Vermont Friends of Israel, also called the vandalism an anti-Jewish hate crime and said such an incident “is the predictable consequence of a political campaign in Vermont that demonizes Israel and pressures local communities to treat Jews and Zionists as equivalent to Nazis.” He referenced an Apartheid Free Community campaign active in Vermont, promoted by the Palestine Solidarity Coalition, that is marketed locally as “grassroots activism.”
“When anti-Zionist activists tell people that Jews with deep spiritual, cultural, and familial ties to Israel are ‘baby killers’ and ‘genocide supporters,’ it sends a dangerous signal that intimidation against them is understandable, deserved, or even justified,” Treinkman noted. “History teaches us where this goes. First come campaigns of dehumanization, slogans, pledges, and public shaming. Now a Jewish woman’s storefront has been vandalized in rural Vermont.”
“Synagogues in Vermont have been sent death threats. Swastikas are found on Vermont school walls,” he added, referring to threatening letters sent to several local synagogues and antisemitism graffiti discovered at an elementary school last year. “Jewish students are bullied. What comes next if this is not confronted?”