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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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Some blame Qatar and unions for K-12 antisemitism. Experts say that’s the wrong focus
While antisemitism at colleges and universities gets the most attention, discrimination against young Jewish students is also growing in pernicious ways that often have less to do with nuanced political debates over Israel than outright bullying, including Nazi salutes, jokes about Hamas killing Jews and memes in the online forums where many students socialize.
These incidents have prompted a growing interest in countering K-12 antisemitism — the Anti-Defamation League is ramping up pressure on districts and a new political action committee is seeking “pro-Jewish” school board candidates. But alongside these efforts has been a hunt for a boogeyman supposedly driving the problem.
The Foundation for Defense of Democracies, an influential neoconservative think tank, along with Republican lawmakers in Congress have sought to lay the blame on Qatar for “fueling anti-Jewish bigotry in K-12 schools” by, among other things, distributing for years a map of the Middle East to some schools that omitted Israel.
Teachers unions have also come under special scrutiny, especially after a contingent of National Education Association members unsuccessfully tried to cut the union’s ties with the ADL over the summer. Eric Fingerhut, chief executive of the Jewish Federations of North America, went on a self-described “rant against the NEA” from the stage of his organization’s annual conference this week in which he described the union as “invidious” and “one of the biggest, most serious problems that we have.”
This framing presents the plight of young Jewish students as an especially daunting front in the ongoing fight over how Israel is treated in American society; most concerns about both the NEA and Qatar are focused on growing hostility toward Israel.
But away from the conference’s main stage, experts working on the issue had a less conspiratorial outlook.
“It’s exciting to believe that if only we get rid of foreign funding we could solve this problem,” Hindy Poupko, a top lobbyist for the UJA-Federation of New York, said during a Tuesday panel on K-12 antisemitism. “It’s not true.”
Poupko added that some Jewish leaders were painting unions with too broad of a brush in describing them as anti-Israel and she credited the positive relationship Jewish organizations in New York City have with local unions, including the teachers union, for their success in blocking a ceasefire resolution at city council.
***
Rather than a sinister plot to seed classrooms with antisemitism or a political agenda about Israel, Poupko and the other experts suggested the problem was much more prosaic: Teachers have limited time and resources to learn about Jews, Israel and antisemitism.
David Bryfman, chief executive of the Jewish Education Project, said that many teachers simply Google to find information to teach about current events and are increasingly turning to ChatGPT — the artificial intelligence chatbot — to build lesson plans plagued by the flimsy sourcing and false information caused by the bot’s “hallucinations.”
One effective solution has been to provide classroom materials that teachers can easily integrate into their lessons. UJA-Federation distributed lesson plans pegged to Jewish American History Month to New York City schools along with posters of “Jewish heroes,” including authors Judy Blume and Emma Lazarus.
They’ve also promoted an interactive theatrical performance, featuring actors portraying Anne Frank and Martin Luther King Jr. who come to classrooms for a show that weaves together the writings of both figures.
The local Jewish federation in Toronto realized that the only lessons about Jews in many schools centered on the Holocaust, so they wrote materials about ancient Israel that could be worked into the block on “ancient civilizations” taught to every fourth grader, and distributed books about Hanukkah to teachers.
And Bryfman is working on a database of educational resources about Jews and Judaism that teachers can both access directly and that will be given to artificial intelligence models with the hope that, when teachers search online in the future, they’ll turn up more accurate information.
***
None of these are groundbreaking solutions, but I appreciated hearing about them because they provide an important reality check. If we imagine antisemitism to be the result of a malignant conspiracy — Qatar turning teachers into sleeper agents for Hamas, or the NEA seeking to indoctrinate kindergarteners against Israel — the challenge of addressing it can seem insurmountable in the absence of a magic bullet.
Certainly, hanging a poster of Ruth Bader Ginsburg in a middle school hallway isn’t going to solve antisemitism. But these kinds of practical interventions can help make Jewish students feel included at a time when many are feeling stigmatized and isolated.
Poupko said that, at least anecdotally, Jewish students had reported excitement at seeing their school hold an assembly block on Jewish heritage month for the first time, and data has found that Americans who personally know at least a few Jews are less likely to believe antisemitic stereotypes.
That’s the same logic behind a George Washington University project that offers a summer institute for faculty at schools of education at universities around the country, some of whom come in not knowing what the “Hebrew Bible” refers to, according to Ben Jacobs, the professor who runs the program.
And Be the Narrative, a group that trains Jewish students to present basic information about Judaism to their non-Jewish peers, found that 78% of teachers believed the presentations helped reduce antisemitism in their schools.
One throughline in all of these strategies is that they’re focused on working in good faith with teachers and school administrators. This is much harder when organizations view them as enemies rather than potential partners, as Fingerhut was encouraging.
“We can’t out mob the mob,” Poupko said. “Our special sauce is relationships with the people who are actually in positions of power.”
The post Some blame Qatar and unions for K-12 antisemitism. Experts say that’s the wrong focus appeared first on The Forward.
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Grok said Hebrew translation was disabled on X — but it’s not
Despite what you may have heard, Hebrew translation still works on X. But allegations that the platform had disabled translation for Hebrew went viral after Grok, the AI chatbot built into the platform, said Hebrew was disabled because posts in the language were likely to encourage violence. As it turns out, the AI was hallucinating — the real question is why.
The rumor seems to have started because a Hebrew post advertising a pop group’s new single, “I, Butterfly,” was not working with the translation tools on the site. An account with the name “Red Pill Media” — though the bio for the account only says “America First,” and does not link to any media site — took a screenshot of an error message pop-up saying that Hebrew was not supported “for this translation.” They then shared the photo with a caption alleging that Hebrew translation was gone because “Jews were calling for genocide on this app without getting suspended.”
In the comments of this post, someone tagged Grok to ask why Hebrew wasn’t available. “Translation from Hebrew was disabled because it often amplified inflammatory or policy-violating content, like calls for violence, to a global audience via inaccurate or literal renditions,” the bot replied. “It’s about platform integrity amid documented spikes in Hebrew hate speech.”
Many people took this as an official confirmation from X that Hebrew translation had been turned off.
But while engineers, and the platform’s owner, Elon Musk, often tinker with the AI’s responses — for example, Musk made Grok more right-wing, and programmed it to flatter him — it largely consumes responses on X itself as its training material, which means that it is easy to mislead it. This is particularly the case on new, viral topics that its programmers have not had time to put up safeguards around.
In the comments on the original post, users speculated as to why the translation wasn’t working, quickly coming up with nefarious explanations. One user posited, or joked, that there was a Mein Kampf excerpt in the caption. Others guessed that it was an effort to “protect hate speech” in Hebrew so that English speakers can’t condemn it or use it to criticize Israel.
The original post that Grok could not translate contained no hate speech at all. It simply lists the song’s composers and the members of the band. (The translation issue may have stemmed from the fact that the song’s title was in English, and mixing characters from different alphabets confused the translation software.) But that didn’t stop false ideas about what it said from circulating. This is likely how Grok came to its conclusion — by consuming and regurgitating the conspiracy theories that users had themselves generated.
Chatbots and AIs are prone to hallucinations like this because of the way that they are trained; they tend to use human-generated input as their main source of information, which means that they are easily influenced by people’s own thoughts, incorrect beliefs and conspiracy theories. (This is also why they are prone to spouting neo-Nazi talking points without safeguards; there’s a lot of those floating around on the internet that the programs learned from.)
In fact, the error message in the screenshot saying that Hebrew was not available for that translation was not actually part of X; it was a pop-up from Apple Translation, the iPhone’s built-in translation tool, which was probably also confused by the mixed alphabets. And Grok has elsewhere confirmed that Hebrew can be translated on X, and that mixed alphabets cause a glitch. Still, theories continue to swirl that Grok may be refusing to translate Hebrew posts that include hate speech as part of an effort to reduce outcry against Israel.
But whether or not it’s good for the Jews, it’s still perfectly possible to translate plenty of racist statements in Hebrew, and any other language.
The post Grok said Hebrew translation was disabled on X — but it’s not appeared first on The Forward.
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French Court Cuts Sentence for Teen in Antisemitic Gang Rape of 12-Year-Old Jewish Girl
France, Paris, 20/06/2024. Gathering at place de la Bastille after the anti Semitic rape of a 12 year old girl in Courbevoie. Photography by Myriam Tirler / Hans Lucas.
More than a year after the brutal gang rape of a 12-year-old Jewish girl, a French court has dramatically reduced the sentence of one of the two teenagers convicted in the attack, citing his “need to prepare for future reintegration.”
On Tuesday, the Versailles Court of Appeal retried one of the convicted boys — the only one to challenge his sentence — behind closed doors, ultimately reducing his term from nine to seven years and imposing an educational measure, the French news outlet Le Parisien reported.
“The court took into account the entire case as provided for by law: the facts, their seriousness, but also the personality of the minor and the need to prepare for future reintegration,” the boy’s lawyer Melody Blanc said in a statement.
The original sentences, handed down in June, gave the two boys — who were 13 years old at the time of the incident — seven and nine years in prison, respectively, after they were convicted on charges of group rape, physical violence, and death threats aggravated by antisemitic hatred.
The third boy involved in the attack, the girl’s ex-boyfriend, was accused of threatening her and orchestrating the attack, also motivated by racist prejudice.
Because the girl’s ex-boyfriend was under 13 at the time of the attack, he did not face prison and was instead sentenced to five years in an educational facility.
The lawyers of the victim, Muriel Ouaknine-Melki and Oudy Bloch, praised “the courage of [their] client” for confronting her attackers and ensuring that two of them were imprisoned.
According to police reports from the time, the two French boys cornered the girl on June 15, 2024, inside an empty building in Courbevoie, a northwestern suburb of Paris, questioned her about her Jewish identity, and then physically assaulted and raped her.
The assailants who were Muslim also allegedly called the victim a “dirty Jew” and uttered other antisemitic remarks during the brutal gang-rape.
Under threat of death, she was forced to perform penetrative and oral sex on two of the boys, while her ex-boyfriend threatened to burn her cheek with a lighter and attempted to make her sit on her handbag, which he had set ablaze.
Local reports indicate that part of the assault was recorded, and at least one assailant allegedly demanded 200 euros from the girl to withhold the footage, which was eventually circulated.
The ex-boyfriend sent footage of the assault to a boy the girl had gone out with that afternoon, with the message “Look at your chick,” according to law enforcement. After receiving such a message, the boy informed the girl’s family, who found her an hour after the attack.
“Before letting her leave, they made her swear on Allah not to say anything and that she should not tell anyone, neither her parents nor the police,” the girl’s mother told Le Parisien at the time.
The three-day trial, held behind closed doors, took place in a regional juvenile court in Nanterre, a suburb west of Paris.
During the proceedings, the judge explained that the severity of the sentence came “in view of their concerning personality traits and the immense social disturbance.”
“There is no doubt that [the victim] would not have been assaulted or raped if she had not been Jewish,” the judge said at the time.
The brutal crime sparked outrage throughout France and among the Jewish community, unfolding against the backdrop of a disturbing surge in antisemitism that has gripped the country since the Hamas-led invasion of and massacre across southern Israel on Oct. 7, 2023.