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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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Putin and Trump Do Not Support European-Ukrainian Temporary Ceasefire Idea, the Kremlin Says
Russian President Vladimir Putin delivers a speech during a session of the St. Petersburg International Economic Forum. Photo: Reuters/Maxim Shemetov
The Kremlin said on Sunday that Russian President Vladimir Putin and US President Donald Trump do not support a European-Ukrainian push for a temporary ceasefire ahead of a settlement, and that Moscow thinks Kyiv needs to make a decision on Donbas.
Kremlin foreign policy aide Yuri Ushakov said that a call between Putin and Trump lasted 1 hour and 15 minutes and took place at the request of Trump ahead of Trump’s meeting in Miami with Ukrainian President Volodymyr Zelenskiy.
“The main thing is that the presidents of Russia and the United States hold similar views that the option of a temporary ceasefire proposed by the Ukrainians and the Europeans under the pretext of preparing for a referendum or under other pretexts only leads to a prolongation of the conflict and is fraught with renewed hostilities,” Ushakov said.
Ushakov said that for hostilities to end, Kyiv needed to make a “bold decision” in line with Russian-US discussions on Donbas.
“Given the current situation on the fronts, it would make sense for the Ukrainian regime to make this decision regarding Donbas.”
Russia, which controls 90 percent of Donbas, wants Ukraine to withdraw its forces from the 10 percent of the area that Kyiv’s forces still control. Overall, Russia controls about a fifth of Ukraine.
Trump has repeatedly promised to end the deadliest conflict in Europe since World War Two and his envoy Steve Witkoff and son-in-law Jared Kushner have been negotiating with Russia, Ukraine and European powers.
Ukraine and its European allies are worried that Trump could sell out Ukraine and leave European powers to foot the bill for supporting a devastated Ukraine after Russian forces took 12-17 square km (4.6-6.6 square miles) of Ukraine per day in 2025.
“Donald Trump listened attentively to Russian assessments of the real prospects for reaching an agreement,” Ushakov said.
“Trump persistently pursued the idea that it was really necessary to end the war as soon as possible, and spoke about the impressive prospects for economic cooperation between the United States and Russia and Ukraine that were opening up,” Ushakov said.
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Zelensky to Meet Trump in Florida for Talks on Ukraine Peace Plan
FILE PHOTO: U.S. President Donald Trump welcomes Ukraine’s President Volodymyr Zelenskiy at the White House in Washington, D.C., U.S., October 17, 2025. REUTERS/Jonathan Ernst/File Photo
Ukrainian President Volodymyr Zelensky and US President Donald Trump will meet in Florida on Sunday to forge a plan to end the war in Ukraine, but face differences over major issues, including territory, as Russian air raids pile pressure on Kyiv.
Russia hit the capital and other parts of Ukraine with hundreds of missiles and drones on Saturday, knocking out power and heat in parts of the capital. On Saturday, during a meeting with Canadian Prime Minister Mark Carney in Nova Scotia, Zelensky called it Russia’s response to the US-brokered peace efforts.
Zelensky has told journalists that he plans to discuss the fate of eastern Ukraine’s contested Donbas region during the meeting at Trump’s Florida residence, as well as the future of the Zaporizhzhia nuclear power plant and other topics.
The Ukrainian president and his delegation arrived in Florida late on Saturday, Ukraine’s Deputy Foreign Minister Serhiy Kyslytsya said on X.
RUSSIA CLAIMS MORE BATTLEFIELD ADVANCES
Moscow has repeatedly insisted that Ukraine yield all of the Donbas, even areas still under Kyiv’s control, and Russian officials have objected to other parts of the latest proposal, sparking doubts about whether Russian President Vladimir Putin would accept whatever Sunday’s talks might produce.
Putin said on Saturday Moscow would continue waging its war if Kyiv did not seek a quick peace. Russia has steadily advanced on the battlefield in recent months, claiming control over several more settlements on Sunday.
The Ukrainian president told Axios on Friday he hopes to soften a US proposal for Ukrainian forces to withdraw completely from the Donbas. Failing that, Zelensky said the entire 20-point plan, the result of weeks of negotiations, should be put to a referendum.
A recent poll suggests that Ukrainian voters may reject the plan.
Zelensky’s in-person meeting with Trump, scheduled for 1 p.m. (1800 GMT), follows weeks of diplomatic efforts. European allies, while at times cut out of the loop, have stepped up efforts to sketch out the contours of a post-war security guarantee for Kyiv that the United States would support.
On Sunday, ahead of his meeting with Trump, Zelensky said he held a detailed phone call with British Prime Minister Keir Starmer.
Trump and Zelensky were also expected to hold a phone call with European leaders during their Florida meeting, a spokesperson for the Ukrainian president said on Sunday.
STICKING POINTS OVER TERRITORY
Kyiv and Washington have agreed on many issues, and Zelensky said on Friday that the 20-point plan was 90% finished. But the issue of what territory, if any, will be ceded to Russia remains unresolved.
While Moscow insists on getting all of the Donbas, Kyiv wants the map frozen at current battle lines.
The United States, seeking a compromise, has proposed a free economic zone if Ukraine leaves the area, although it remains unclear how that zone would function in practical terms.
It has also proposed shared control over the Zaporizhzhia nuclear power plant, where power line repairs have begun after another local ceasefire brokered by the International Atomic Energy Agency, the agency said on Sunday.
Zelensky, whose past meetings with Trump have not always gone smoothly, worries along with his European allies that Trump could sell out Ukraine and leave European powers to foot the bill for supporting a devastated nation, after Russian forces took 12 to 17 square km (4.6-6.6 square miles) of its territory per day in 2025.
Russia controls all of Crimea, which it annexed in 2014, and since its invasion of Ukraine nearly four years ago has taken control of about 12 percent of its territory, including about 90 percent of Donbas, 75 percent of the Zaporizhzhia and Kherson regions, and slivers of the Kharkiv, Sumy, Mykolaiv and Dnipropetrovsk regions, according to Russian estimates.
Putin said on December 19 that a peace deal should be based on conditions he set out in 2024: Ukraine withdrawing from all of the Donbas, Zaporizhzhia and Kherson regions, and Kyiv officially renouncing its aim to join NATO.
Ukrainian officials and European leaders view the war as an imperial-style land grab by Moscow and have warned that if Russia gets its way with Ukraine, it will one day attack NATO members.
The 20-point plan was spun off from a Russian-led 28-point plan, which emerged from talks between U.S. special envoy Steve Witkoff, Trump’s son-in-law Jared Kushner and Russian special envoy Kirill Dmitriev, and which became public in November.
Subsequent talks between Ukrainian officials and U.S. negotiators have produced the more Kyiv-friendly 20-point plan.
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Central African Republic Votes, Russia Ally Touadera Seeks Third Term
People wait to cast their vote at a polling station during the presidential election in Bangui, Central African Republic, December 28, 2025. Photo: REUTERS/ Leger Serge Kokpakpa
Central African Republic President Faustin-Archange Touadera is seeking a third term on Sunday as the chronically unstable country holds national elections, touting security gains made with the help of Russian mercenaries and Rwandan soldiers.
The 68-year-old mathematician oversaw a constitutional referendum in 2023 that scrapped the presidential term limit, drawing an outcry from his critics who accused him of seeking to rule for life.
A Touadera victory – the expected outcome – would likely further the interests of Russia, which has traded security assistance for access to resources including gold and diamonds. Touadera is also offering access to the country’s lithium and uranium reserves to anyone interested.
Polling stations opened on time at 6 a.m. (0500 GMT) in the capital, Bangui, a Reuters witness said. They were due to close at 6 p.m. (1700 GMT), with provisional results expected by January 5. Nearly 2.4 million people were registered to vote.
Casting her ballot in Bangui, shopkeeper Beatrice Mokonzapa said women had “suffered greatly” during Central African Republic’s years of conflict but that the situation had improved.
“We have security today. I hope it continues. And for that, President Touadera is best placed to guarantee our security,” she said.
SIX OPPONENTS CHALLENGE TOUADERA
The opposition field of six candidates is led by two former prime ministers, Anicet-Georges Dologuele and Henri-Marie Dondra, both of whom survived attempts by Touadera’s supporters to have them disqualified for allegedly holding foreign citizenship.
Though both men remain on the ballot, Touadera is still seen as the favorite given his control over state institutions and superior financial resources, analysts say.
In an interview with Reuters on Wednesday, Dondra said the playing field was “unbalanced” and that he had been unable to travel as widely as Touadera to campaign. He nevertheless predicted he would have a strong showing.
The challenges to the candidacies of Dologuele and Dondra “aligned with an apparent pattern of administrative manoeuvring that has disproportionately impeded opposition politicians while favouring the ruling United Hearts Party,” Human Rights Watch said last month.
Voting in the capital early on Sunday, teacher Albert Komifea said he wanted a change, without specifying who he had backed.
“They did everything they could to prevent the opposition from campaigning effectively, in order to reduce their chances,” he said. “But the ballot box will confirm that change is now.”
RUSSIA AND RWANDA REINFORCE TOUADERA
In 2018, CAR became the first country in West and Central Africa to bring in Russia’s Wagner mercenaries, a step since also taken by Mali, Burkina Faso and Niger.
Two years later, Rwanda deployed troops to shore up Touadera’s government as rebel groups threatened the capital and tried to disrupt the 2020 elections, ultimately preventing voting at 800 polling stations across the country, or 14% of the total.
The country is more secure now after Touadera signed several peace deals with rebel groups this year.
But those gains remain fragile: Rebels have not fully disarmed, reintegration is incomplete, and incursions by combatants from neighboring Sudan fuel insecurity in the east.
Beyond the presidential contest, the elections on Sunday cover legislative, regional and municipal positions.
If no candidate gets more than 50% of the vote, a presidential runoff will take place on February 15, while legislative runoffs will take place on April 5.
Pangea-Risk, a consultancy, wrote in a note to clients that the risk of unrest after the election was high as opponents were likely to challenge Touadera’s expected victory.
A smooth voting process could reinforce Touadera’s claim that stability is returning, which was buttressed last year with the U.N. Security Council’s lifting of an arms embargo and the lifting of a separate embargo on diamond exports.
In November, the U.N. Security Council extended the mandate of its peacekeeping mission. The US opposed the decision, calling for a shorter extension and a handover of security to Bangui.