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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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Robin Kelly, running for Senate in Illinois, says Israel committed ‘genocide’
(JTA) — An Illinois congresswoman who is running for U.S. Senate said during a debate Thursday night that she believed Israel committed a genocide in Gaza, in the latest sign of a sea change in Democratic sentiment about Israel.
“It may not have started off being like that, but I believe that is what it turned into,” said Rep. Robin Kelly, who is running to replace the retiring Sen. Dick Durbin.
Following the debate, Kelly took to X to hammer the point that neither Lieutenant Gov. Juliana Stratton nor Rep. Raja Krishnamoorthi were willing to match her accusation.
“Every candidate on stage tonight had the opportunity to condemn genocide in Gaza,” she wrote. “I’m the only one who did.”
The debate came a month after Scott Wiener, the Jewish politician running to replace Rep. Nancy Pelosi in California, drew fire after initially declining to answer a debate question about whether Israel committed genocide in Gaza, then said he had decided it had.
It also came just a year after Kelly received a donation from AIPAC, the pro-Israel lobby — then adopted more critical stances on Israel since declaring her Senate candidacy last May.
The three candidates’ responses to the question about Gaza underscored just how present Israel remains in electoral politics months after a U.S.-brokered ceasefire sent the two-year-old Israel-Hamas war into a new era. During the war, Democratic voters’ approval of Israel plummeted to the single digits, according to some polls, and an array of politicians who had never before been vocal critics of Israel adopted harshly critical stances.
Kelly has traveled to Israel multiple times on congressional delegations and sought to curry support within the Chicago Jewish community in the past. Now, as she carves out a position among the three frontrunners in the Senate race as the one most critical of Israel, her success in the primary could be a measure of how heavily Democratic voters are weighing the issue.
None of the candidates offered a straightforwardly pro-Israel view on the debate floor. Asked whether she would support Rep. Rashida Tlaib’s resolution to recognize “the genocide of the Palestinian people in Gaza,” Stratton said that “the devastation and suffering that we have seen is terrible” and that “we must do everything we can” to provide humanitarian aid to Gazans.
Krishnamoorthi said he is concerned that people are “extremely divided” in determining “what exactly happened.”
“My concern is this: division getting in the way of progress right now in this fragile ceasefire,” he said. “If that gets in the way of progress, then we’re going to go back to war. And we can’t let that happen.”
Kelly added that she had not actually read Tlaib’s resolution. “But as I just said, I think it was genocide,” she said.
Kelly first took office in 2013. Since announcing her Senate run last year, she has adopted harsher stances on Israel.
In August, she said she would have voted in favor of a pair of Bernie Sanders-led resolutions in the Senate that would block certain arms sales to Israel. And in the House, Kelly cosponsored the Block the Bombs Act that would withhold the transfer of offensive weapons to Israel.
“Israelis and Palestinians must work to secure a path forward where both peoples can live in peace, safety and security,” Kelly said in a statement at the time regarding Sanders’ resolutions. “I have supported Israel, but in this moment, I cannot in good conscience defend starving young children and prolonging the suffering of innocent families. Now is the time for moral leadership in the U.S. Senate.”
At a candidates’ forum in October, several candidates referred to Israel’s campaign in Gaza as a “genocide,” the Daily Northwestern reported.
Kelly was not among them. But she pledged during the forum that she would not accept funds from AIPAC. That was a new position for Kelly, who accepted contributions from AIPAC’s PAC in March and April 2025, according to FEC filings. She was endorsed by the liberal pro-Israel group J Street in her 2024 reelection campaign.
At the forum, Stratton was the only candidate who recognized the upcoming two-year anniversary of Hamas’ Oct. 7, 2023, attack on Israel. Stratton and Krishnamoorthi did not swear off AIPAC contributions.
The Democratic primary, set for March 17, is seen as a three-person race among Kelly, Stratton and Krishnamoorthi. Kelly has garnered endorsements from a number of politicians including Sens. Cory Booker and Chris Murphy. Stratton’s endorsements include Sen. Elizabeth Warren and Illinois Gov. JB Pritzker, while Krishnamoorthi has been endorsed by Bill Daley, who was Obama’s White House chief of staff, and a number of state and U.S. representatives.
Unlike a handful of House elections in the state, this race has not seen any reported spending by pro-Israel groups including AIPAC or its super PAC, the United Democracy Project. Jewish Insider reported last year that votes from Chicagoland’s sizable Jewish community are “up for grabs” because no candidate has particularly deep ties to the community.
Kelly has previously traveled to Israel as a member of Congress. In 2016, Kelly met with leaders from Chicago’s Jewish United Fund and Jewish Community Relations Council to discuss her trip, which was her second to Israel. “She backs a two-state solution and supports Israel’s ongoing security needs,” the JUF wrote after the meeting.
The post Robin Kelly, running for Senate in Illinois, says Israel committed ‘genocide’ appeared first on The Forward.
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China Signals Increased Support for Iran as US Prepares Potential Strike
An Iranian newspaper with a cover photo of an Iranian missile, in Tehran, Iran, Feb. 19, 2026. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
As the United States ramps up its military presence in the Persian Gulf amid rising tensions over Iran’s nuclear program, a symbolic move by China has fueled speculation that Beijing could arm Tehran with cutting-edge stealth aircraft, potentially challenging the US and Israel’s regional dominance.
Last week, a Chinese military attaché in Tehran — a senior official handling defense and military relations — presented Brigadier General Bahman Behmard, commander of the Iranian Air Force, with a scale model of China’s J-20 stealth fighter.
Even though no official contract has been announced, experts interpreted the Chinese gesture as a sharp warning to the US and close ally Israel amid mounting fears of renewed conflict in the Middle East.
If China were to supply fifth-generation jets to Iran, it would not only strengthen Tehran’s deterrence but also break Beijing’s previous stance of neutrality and limited diplomatic support, signaling a direct challenge to US sanctions.
However, it remains unclear whether China actually intends to sell the J-20 to Iran or if presenting its mockup was meant mainly to signal Washington that Beijing is prepared to support Tehran politically, technologically, and otherwise militarily.
While China has publicly urged de-escalation and restraint from both sides in the US-Iran dispute, its latest symbolic move sends a stark signal that Beijing may be prepared to directly challenge US influence in the region.
China’s advanced AI-driven satellites could also give Tehran a strategic advantage by providing the regime with precise intelligence on US military assets in the region, the Eurasian Times reported.
After repeated attempts at nuclear talks between the US and Iran have failed to yield meaningful results, Washington has deployed large numbers of troops and assets to the region in a bid to pressure Tehran back to the negotiating table more willing to make concessions.
With at least a dozen F-22s from Langley Air Force Base in Virginia and F-16s from bases in Italy, Germany, and South Carolina deployed to the Gulf, along with a significant fleet of fighter, surveillance, and intelligence aircraft, the US is marking the fastest military buildup in the region seen over the past month.
According to media reports, F-35 jets from the United Kingdom are also headed to Muwaffaq Salti Air Base in Jordan — a recent hub of US air operations — while a dozen US Navy warships are already active in the area.
Meanwhile, the USS Gerald R. Ford, the world’s largest aircraft carrier, entered the Mediterranean Sea on Friday, joining the USS Abraham Lincoln and the attendant ships that form its carrier strike group.
Advanced air defenses and radar systems have also been deployed to the region to help counter a potential Iranian response to any US military action.
Iranian Foreign Minister Abbas Araqchi said on Friday he expected to have a draft counterproposal ready within days following nuclear talks with the US this week.
US President Donald Trump said he was considering a limited military strike on Iran but gave no further details.
Asked if he was considering such a strike to pressure Iran into a deal on its nuclear program, Trump told reporters at the White House on Friday, “I guess I can say I am considering” it.
The US president was asked later about Iran at a White House press conference and added, “They better negotiate a fair deal.”
Two US officials told Reuters that American military planning on Iran has reached an advanced stage, with options including targeting individuals as part of an attack and even pursuing leadership change in Tehran.
Amid mounting regional tensions, Washington could launch military strikes as soon as Saturday, CBS News reported.
On Thursday, Trump warned that the Islamist regime must reach a “meaningful deal” in its negotiations with the White House within the next 10-15 days, or “bad things will happen.”
US and Israeli officials have argued that a deal should go beyond Iran’s nuclear program and include limits on its ballistic missiles and a cessation of support for terrorist groups across the Middle East. Iranian officials have said that both issues are firm red lines and that they only seek to strike a deal over the country’s nuclear program, although Tehran has publicly rejected a US demand of forgoing all enrichment of uranium.
In the past, particularly during last June’s 12-day war when the US and Israel struck the Iranian regime’s nuclear facilities, China — despite being a close ally and strategic partner of Iran — remained notably on the sidelines, offering only diplomatic support and statements of condemnation rather than any tactical or material assistance.
A key diplomatic and economic backer of Tehran, China has moved to deepen ties with the regime in recent years, signing a 25-year cooperation agreement, holding joint naval drills, and continuing to purchase Iranian oil despite US sanctions.
China is also the largest importer of Iranian oil, with nearly 90 percent of Iran’s crude and condensate exports going to Beijing.
Last week, the two allies — along with Russia — took part in the Maritime Security Belt 2026 joint naval drills in the Strait of Hormuz, delivering yet another symbolic show of force as regional tensions climb.
According to some media reports, China may be even helping Iran rebuild its decimated air defenses following last year’s 12-day war.
The Iranian regime has reportedly acquired China’s HQ-9B long-range surface-to-air missile systems and YLC-8B radar units, along with thousands of tons of sodium perchlorate, a chemical used to produce fuel for solid-propellant mid-range ballistic missiles.
Iran’s growing ties with China come at a time when Tehran faces mounting economic sanctions from Western powers, while Beijing itself is also under US sanctions.
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Isaiah Zagar, renowned Jewish mosaic artist who created Philadelphia’s Magic Gardens, dies at 86
(JTA) — Isaiah Zagar, the famed Jewish mosaic artist whose shimmering, kaleidoscopic installations transformed streets and buildings across Philadelphia and founded the city’s Magic Gardens, has died.
Zagar died on Thursday of complications from heart failure and Parkinson’s disease at his home in Philadelphia. He was 86.
“The scale of Isaiah Zagar’s body of work and his relentless artmaking at all costs is truly astounding,” Emily Smith, the executive director of the Magic Gardens, told The Philadelphia Inquirer. “Most people do not yet understand the importance of what he created, nor do they understand the sheer volume of what he has made.”
Born Irwin Zagar in Philadelphia in 1939, Zagar grew up in Brooklyn, New York, where he received his bachelor’s in painting and graphics at the Pratt Institute of Art. “When you’re a Jew growing up in Brooklyn, they don’t name you Isaiah,” he told the Philadelphia Inquirer in 1980. “They name you Ira, or Irving or Irwin.”
In 1959, when Zagar was 19, he received a summer art scholarship to go to Woodstock, New York, where he encountered the works of famed “outside artist” Clarence Schmidt who would later become his mentor. During that summer, he also studied Jewish religious texts which later inspired him to change his first name to Isaiah, according to the Daily Mail.
In 1963, Zagar met artist Julia Zagar and the pair were married three months later and joined the Peace Corps as conscientious objectors to the Vietnam War.
Zagar and his wife moved to South Philadelphia in 1968, where she opened the Eye’s Gallery on South Street and he created his first art installation by embellishing the building’s facade.
Over the following decades, Zagar used broken tiles, mirrors and bottles to adorn roughly 50,000 square feet of walls and buildings across Philadelphia with his iconic mosaic art. In the late 1990s, transformed two empty lots near his South Philadelphia home into an immersive mosaic and sculpture installation that would later become the iconic Magic Gardens.
Zagar’s works are featured in the permanent collections of the Philadelphia Museum of Art and the Pennsylvania Academy of the Fine Arts. More than 200 of his mosaic pieces can also be found across several states and in Mexico and Chile.
In 2008, Zagar’s son, the filmmaker Jeremiah Zagar, released the documentary “In a Dream,” an intimate portrait of his father’s struggles with mental health and drive to build the Magic Gardens. He worked with a producer whom he met while in Hebrew class at the Jewish day school now known as Jack M. Barrack Hebrew Academy, according to a 2022 profile in the Philadelphia Jewish Exponent.
“Isaiah was more than our founder; he was our close friend, teacher, collaborator, and creative inspiration,” wrote the Magic Gardens in a post on Facebook. “He was unlike anyone we have ever met and will ever meet. Above all things, he was an artist. In his lifetime, he created a body of work that is unique and remarkable, and one that has left an everlasting mark on our city.”
Zagar is survived by his wife and two sons, Jeremiah and Ezekiel.
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