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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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Students Form ‘Human Swastika’ at California High School, Post Image With Hitler Quote
Students forming “human swastika.” Photo: Screenshot.
Eight students at Branham High School in the city of San Jose came together last week to form what police described as a “human swastika” on the campus’ football field in another disturbing antisemitic incident at a California K-12 school.
The students captured the moment in a photograph and later posted it to social media, captioning it with a quote by Adolf Hitler.
Authorities in San Jose have launched a hate crime investigation into the incident, according to local media outlets.
School officials denounced the students’ actions.
“Our message to the community is clear: this was a disturbing and unacceptable act of antisemitism,” Branham High School principal Beth Silbergeld said in a statement. “Many in our community were rightly appalled by the image. Personally, I am horrified by this act. Professionally, I am confident that our school community can learn from this moment and emerge stronger and more united.”
According to the Bay Area Jewish Coalition (BAJC), which supports the local Jewish community,
“This incident did not occur in isolation,” BAJC spokesperson Tali Klima told The Algemeiner on Tuesday. “Over the past two years, we have seen a troubling pattern in which Jews are increasingly demonized and targeted. While the circumstances differ from those of Nazi Germany, the common thread is the deliberate spread of harmful narratives.”
Klima continued, “The fact that eight students felt emboldened to engage in this hateful behavior on campus (and then post publicly) reflects an educational environment that has allowed extremist political agendas which are blatantly antisemitic into our schools. The district and state must take decisive action to restore a climate of tolerance, respect, and inclusion for Jewish students and the broader community.”
California’s state government recently approved legislation for combating K-12 antisemitism which called for establishing a new Office for Civil Rights for monitoring antisemitism in public schools, appointing an Antisemitism Prevention Coordinator, setting parameters within which the Israeli-Palestinian conflict may be equitably discussed, and barring antisemitic materials from the classroom.
State lawmakers introduced the measure, also known as Assembly Bill (AB) 715, in the California legislature following a rise in antisemitic incidents, including vandalism and assault. The list of outrages includes a student group chanting “Kill the Jews” during an anti-Israel protest and partisan activists smuggling far-left, anti-Zionist content into classrooms without clearing the content with parents and other stakeholders.
Elsewhere in California, K-12 antisemitism has caused severe psychological trauma to Jewish students as young as eight years old and fostered a hostile learning environment, as previously reported by The Algemeiner.
In Berkeley United School District (BUSD), teachers have allegedly used their classrooms to promote antisemitic stereotypes about Israel, weaponizing disciplines such as art and history to convince unsuspecting minors that Israel is a “settler-colonial” apartheid state committing a genocide of Palestinians. While this took place, high level BUSD officials allegedly ignored complaints about discrimination and tacitly approved hateful conduct even as it spread throughout the student body.
At Berkeley High School (BUSD), for example, a history teacher forced students to explain why Israel is an apartheid state and screened an anti-Zionist documentary, according to a lawsuit filed last year by the Louis D. Brandeis Center for Human Rights Under Law and the Anti-Defamation League (ADL). The teacher allegedly squelched dissent, telling a Jewish student who raised concerns about the content of her lessons that only anti-Zionist narratives matter in her classroom and that any other which argues that Israel isn’t an apartheid state is “laughable.” Elsewhere in the school, an art teacher, whose name is redacted from the complaint for matters of privacy, displayed anti-Israel artworks in his classroom, one of which showed a fist punching through a Star of David.
In September 2023, some of America’s most prominent Jewish and civil rights groups sued the Santa Clara Unified School District (SCUSD) in California for concealing from the public its adoption of ethnic studies curricula containing antisemitic and anti-Zionist themes. Then in February, the school district paused implementation of the program to settle the lawsuit.
One month later, the Louis D. Brandeis Center for Human Rights Under Law, StandWithUs, and the ADL filed a civil rights complaint accusing the Etiwanda School District in San Bernardino County, California, of doing nothing after a 12-year-old Jewish girl was assaulted, having been beaten with stick, on school grounds and teased with jokes about Hitler.
Antisemitism in K-12 schools has increased every year of this decade, according to data compiled by the ADL. In 2023, antisemitic incidents in US public schools increased 135 percent, a figure which included a rise in vandalism and assault.
California is not alone in dealing with the issue. Pennsylvania has a significant K-12 antisemitism problem as well, a fact acknowledged recently by a surrogate of the administration of Gov. Josh Shapiro following Congress announcing an investigation into antisemitism in the School District of Philadelphia (SDP) and a disturbing anti-Israel statement at a high school in the Wissahickon School District.
“Governor Shapiro takes a back seat to no one on these issues, and as he has repeatedly spoken out about antisemitism, and this kind of hateful rhetoric is unacceptable and has no place in Pennsylvania — especially not in our classrooms,” Rosie Lapowsky, a spokesperson for Shapiro, said in a statement first shared with Fox News Digital. “This is a matter the governor has made clear the district needs to take very seriously.”
Follow Dion J. Pierre @DionJPierre.
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Jewish Groups Slam Basque Government for Honoring Anti-Israel UN Rapporteur Francesca Albanese
Francesca Albanese, UN special rapporteur on human rights in the Palestinian territories, attends a side event during the Human Rights Council at the United Nations in Geneva, Switzerland, March 26, 2024. Photo: REUTERS/Denis Balibouse
Jewish communities in Spain and France have condemned the Basque government’s decision to award UN Special Rapporteur Francesca Albanese a human rights honor, citing her long record of making antisemitic remarks, promoting anti-Jewish hatred, and seemingly legitimizing Hamas’s terrorist attacks on the Jewish state.
Last week, the government of the Basque Region in northern Spain announced that Albanese will receive the 2025 René Cassin Human Rights Award, named after French Jewish human rights and Zionist activist René Cassin – author of the Universal Declaration of Human Rights.
“Through her work at the United Nations, Francesca Albanese has played a key role in exposing human rights violations, challenging impunity, and advocating for the effective enforcement of international norms that protect people in conflict and occupied territories,” the announcement read.
Albanese’s work “is marked by legal rigor, independent judgment, and a strong ethical commitment that should guide all those working to uphold human rights on the international stage,” it continued.
In a joint statement on Monday, the Federation of Jewish Communities in Spain (FCJE) and the Representative Council of Jewish Institutions of France (CRIF) denounced the decision, arguing it undermines the principles that Cassin stood for.
“René Cassin, author of the Universal Declaration of Human Rights, Nobel Peace Prize laureate, and fervent defender of justice, held an unwavering commitment to peace, human dignity, and the right of the Jewish people to live in security,” the statement read.
“Awarding this prize to Ms. Albanese constitutes a distortion of Cassin’s legacy and a serious misunderstanding of the values of human rights,” it continued.
Communiqué conjoint – La Fédération des Communautés Juives d’Espagne @fcjecom et le Conseil Représentatif des Institutions Juives de France (Crif) expriment leur profond désaccord avec l’attribution, par le Gouvernement basque, du Prix René Cassin 2025 des droits de l’Homme à…
— CRIF (@Le_CRIF) December 5, 2025
Albanese is set to receive the award at a ceremony on Wednesday in Bilbao, a city in northern Spain.
The World Jewish Congress (WJC) also condemned the Spanish government’s decision, voicing support for the Jewish communities in Spain and France and calling the move “deeply troubling.”
“Albanese has repeatedly advanced narratives that minimize or excuse violence against Jews and has a documented record of antisemitic rhetoric,” WJC posted on X.
The Basque Government’s decision to award the 2025 René Cassin Human Rights Prize to Francesca Albanese is deeply troubling. Albanese has repeatedly advanced narratives that minimize or excuse violence against Jews and has a documented record of antisemitic rhetoric.
We support… https://t.co/ZT5QfOgzpa
— World Jewish Congress (@WorldJewishCong) December 5, 2025
Despite objections from several governments including France, the United Kingdom, Germany, Canada, and the Netherlands, as well as numerous NGOs, Albanese was reappointed earlier this year for a three-year term amid concerns about her controversial remarks and alleged pro-Hamas stance.
Since taking on the role of UN special rapporteur on human rights in the Palestinian territories in 2022, Albanese has been at the center of controversy due to what critics, including US and European lawmakers, have described as antisemitic and anti-Israel public remarks.
In the months following Hamas’s Oct. 7, 2023, massacre across southern Israeli communities, Albanese accused Israel of perpetrating a “genocide” against the Palestinian people in revenge for the attacks and circulated a widely derided and heavily disputed report alleging that 186,000 people have been killed in Gaza as a result of Israeli actions.
She has also previously made comments about a “Jewish lobby” controlling America and Europe, compared Israel to Nazi Germany, and stated that Hamas’s violence against Israelis — including rape, murder, and kidnapping — needs to be “put in context.”
Last year, the UN launched a probe into Albanese for allegedly accepting a trip to Australia funded by pro-Hamas organizations.
In the past, she has also celebrated the anti-Israel protesters rampaging across US college campuses, saying they represent a “revolution” and give her “hope.”
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Helen Nash, kosher cookbook author and NYC philanthropist, dies at 89
(JTA) — Helen Nash, a New-York based kosher cookbook author and philanthropist who pioneered modern kosher cooking starting in the 1980s, died on Dec. 8 at the age of 89.
Her first cookbook “Kosher Cuisine,” was published in 1984 by Random House, and adapted a variety of international recipes for kosher cooks. Its publication, Nash told the Detroit Jewish News at the time, sought to prove that kosher cooking “could be as varied, elegant and exciting as one wished to make it.”
She went on to demonstrate that in two more cookbooks, demonstrating what one reviewer called “her ability to expand the kosher palate.”
“Keeping kosher is more, to me, than just a sensible way to live and to eat healthfully. The ancient Jewish dietary laws help to organize my life around family, Friday nights, and holidays,” wrote Nash in her 2012 book, “Helen Nash’s New Kosher Cuisine: Healthy, Simple, and Stylish.”
Nash was born Helen Englander in Krakow, Poland, on Dec. 24, 1935 where her family owned a textile business. With her parents and sister, Nash survived World War II with her family after they were deported to Siberia.
“There was no cooking in my childhood,” Nash told the Jewish Book Council in 2012. “When I was four and a half, my family was transported out of Krakow, and we spent the war in labor camps in Siberia. Food was nonexistent — no fruit, no vegetables. It was a ration diet of subsistence level.”
Following the war, Nash’s family reunited with her maternal grandparents in Williamsburg, Brooklyn, before settling in Crown Heights.
In 1957, she met and married her husband, Jack Nash, who was also a refugee from Berlin. Having grown up in an Orthodox family, Nash insisted that she keep a kosher kitchen.
“It was my interest,” Nash told New York Jewish Week in 2015. “Most women didn’t have careers outside the home, and I sort of carved a niche for myself, and the niche was entertaining in a certain style. Jack was very encouraging. And I met so many people I wouldn’t have met if I’d stayed in the religious mode.”
While her husband, who died in 2008, went on to serve as the chairman of the Oppenheimer & Company mutual fund business and founded the revival of The New York Sun, Nash charted her own path in the kitchen.
Following the birth of her children, Joshua and Pamela, Nash took classes with famed chefs including Michael Field and Millie Chan and worked on how to adapt their cuisines to a kosher palate.
Her second cookbook, “Helen Nash’s Kosher Kitchen,” published in 1988, also sought to break boundaries in kosher recipes. “’Kosher food is more than chopped liver and gefilte fish,” said Nash at the time.
“Helen Nash’s New Kosher Cuisine,” published following the death of her husband, also took kosher cooking to new heights, incorporating new global ingredients that had been made kosher since the publication of her earlier books.
Nash also chaired the Nash Family Foundation, which supported numerous Jewish organizations in New York City. She and her husband were also contributors to UJA-Federation of New York, Mount Sinai Medical Center, the Israel Museum, Shaare Zedek Medical Center and Yeshiva University.
Rabbi Menachem Creditor, a scholar in residence and rabbi for the UJA-Federation of New York, dedicated his Torah study on Youtube Wednesday to Nash.
“Helen Nash was many things, including a renowned author of recipe books and chef, she was a matriarch in her family,” said Creditor. “Her family foundation has changed the Jewish world for the better in countless ways, and I was blessed, privileged since the first moment I began at UJA almost eight years ago to learn Torah with Helen every single Wednesday for these last eight years.”
Nash is survived by her children and grandchildren. A funeral service for her was held on Dec. 9 at Congregation Kehilath Jeshurun, an Orthodox synagogue on the Upper East Side of Manhattan.
The post Helen Nash, kosher cookbook author and NYC philanthropist, dies at 89 appeared first on The Forward.