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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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How the Global Religious Landscape Changed from 2010 to 2020
Muslims grew fastest; Christians lagged behind global population increase
• Christians are the world’s largest religious group, at 28.8% of the global population. They are a majority everywhere except the Asia-Pacific and Middle East-North Africa regions. Sub-Saharan Africa has surpassed Europe in having the largest number of Christians. But Christians are shrinking as a share of the global population, as millions of Christians “switch” out of religion to become religiously unaffiliated.
• Muslims are the world’s second-largest religious group (25.6% of the world’s population) and the fastest-growing major religion, largely due to Muslims’ relatively young age structure and high fertility rate. They make up the vast majority of the population in the Middle East-North Africa region. In all other regions, Muslims are a religious minority, including in the Asia-Pacific region (which is home to the greatest number of Muslims).
• The religiously unaffiliated population is the world’s third-largest religious category (24.2% of the global population), after Christians and Muslims. Between 2010 and 2020, religiously unaffiliated people grew more than any group except Muslims, despite their demographic disadvantages of an older age structure and relatively low fertility. The unaffiliated made up a majority of the population in 10 countries and territories in 2020, up from seven a decade earlier.
• Hindus are the fourth-largest religious category (14.9% of the world’s population), after Christians, Muslims and religiously unaffiliated people. Most (99%) live in the Asia-Pacific region; 95% of all Hindus live in India alone. Between 2010 and 2020, Hindus remained a stable share of the world’s population because their fertility resembles the global average, and surveys indicate that switching out of or into Hinduism is rare.
• Buddhists (4.1% of the world’s population) are the only group in this report whose number declined worldwide between 2010 and 2020. This was due both to religious disaffiliation among Buddhists in East Asia and to a relatively low birth rate among Buddhists, who tend to live in countries with older populations. Most of the world’s Buddhists (98%) reside in the Asia-Pacific region, the birthplace of Buddhism.
• Jews, the smallest religious group analyzed separately in this report (0.2% of the world’s population), lagged behind global population growth between 2010 and 2020 – despite having fertility rates on par with the global average – due to their older age structure. Most Jews live either in North America (primarily in the United States) or in the Middle East-North Africa region (almost exclusively in Israel).
These are among the key findings of a Pew Research Center analysis of more than 2,700 censuses and surveys, including census data releases that were delayed due to the coronavirus pandemic. This report is part of the Pew-Templeton Global Religious Futures project, which analyzes global religious change and its impact on societies around the world. Funding for the Global Religious Futures project comes from The Pew Charitable Trusts and the John Templeton Foundation.
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Antisemitism in some unlikely places in America
By HENRY SREBRNIK Antisemitism flourishes in a place where few might expect to confront it – medical schools and among doctors. It affects Jews, I think, more emotionally than Judeophobia in other fields.
Medicine has long been a Jewish profession with a history going back centuries. We all know the jokes about “my son – now also my daughter – the doctor.” Physicians take the Hippocratic Oath to heal the sick, regardless of their ethnicity or religion. When we are ill doctors often become the people who save us from debilitating illness and even death. So this is all the more shocking.
Yes, in earlier periods there were medical schools with quotas and hospitals who refused or limited the number of Jews they allowed to be affiliated with them. It’s why we built Jewish hospitals and practices. And of course, we all shudder at the history of Nazi doctors and euthanasia in Germany and in the concentration camps of Europe. But all this – so we thought – was a thing of a dark past. Yet now it has made a comeback, along with many other horrors we assume might never reappear.
Since the Hamas attack on Israel on October 7, 2023, there has been a resurgence of antisemitism, also noticeable in the world of healthcare. This is not just a Canadian issue. Two articles on the Jewish website Tablet, published Nov. 21, 2023, and May 18, 2025, spoke to this problem in American medicine as well, referencing a study by Ian Kingsbury and Jay P. Greene of Do No Harm, a health care advocacy group, based on data amassed by the organization Stop Antisemitism. They identified a wave of open Jew-hatred by medical professionals, medical schools, and professional associations, often driven by foreign-trained doctors importing the Jew-hatred of their native countries, suggesting “that a field entrusted with healing is becoming a licensed purveyor of hatred.”
Activists from Doctors Against Genocide, American Palestinian Women’s Association, and CODEPINK held a demonstration calling for an immediate cease-fire in Gaza at the Hart Senate Office Building in Washington, D.C., Nov. 16, 2023, almost as soon as the war began. A doctor in Tampa took to social media to post a Palestinian flag with the caption “about time!!!” The medical director of a cancer centre in Dearborn, Michigan, posted on social media: “What a beautiful morning. What a beautiful day.” Even in New York, a physician commented on Instagram that “Zionist settlers” got “a taste of their own medicine.” A Boston-based dentist was filmed ripping down posters of Israeli victims and a professor at the University of Pennsylvania Perelman School of Medicine did the same. Almost three-quarters of American medical associations felt the need to speak out on the war in Ukraine but almost three-quarters had nothing to say about the war in Israel.
Antisemitism in academic medical centres is fostering noxious environments which deprive Jewish healthcare professionals of their civil right to work in spaces free from discrimination and hate, according to a study by the Data & Analytics Department of StandWithUs, an international, non-partisan education organization that supports Israel and fights antisemitism.
“Academia today is increasingly cultivating an environment which is hostile to Jews, as well as members of other religious and ethnic groups,” StandWithUs director of data and analytics, and study co-author, Alexandra Fishman, said on May 5 in a press release. “Academic institutions should be upholding the integrity of scholarship, prioritizing civil discourse, rather than allowing bias or personal agendas to guide academic culture.”
The study, “Antisemitism in American Healthcare: The Role of Workplace Environment,” included survey data showing that 62.8 per cent of Jewish healthcare professionals employed by campus-based medical centres reported experiencing antisemitism, a far higher rate than those working in private practice and community hospitals. Fueling the rise in hate, it added, were repeated failures of DEI (diversity, equity, and inclusion) initiatives to educate workers about antisemitism, increasing, the report said, the likelihood of antisemitic activity.
“When administrators and colleagues understand what antisemitism looks like, it clearly correlates with less antisemitism in the workplace,” co-author and Yeshiva University professor Dr. Charles Auerbach reported. “Recognition is a powerful tool — institutions that foster awareness create safer, more inclusive environments for everyone.”
Last December, the Data & Analytics Department also published a study which found that nearly 40 per cent of Jewish American health-care professionals have encountered antisemitism in the workplace, either as witnesses or victims. The study included a survey of 645 Jewish health workers, a substantial number of whom said they were subject to “social and professional isolation.” The problem left more than one quarter of the survey cohort, 26.4 per cent, “feeling unsafe or threatened.”
The official journal of the Alliance for Academic Internal Medicine concurs. According to “The Moral Imperative of Countering Antisemitism in US Medicine – A Way Forward,” by Hedy S. Wald and Steven Roth, published in the October 2024 issue of the American Journal of Medicine, increased antisemitism in the United States has created a hostile learning and practice environment in medical settings. This includes instances of antisemitic behaviour and the use of antisemitic symbols at medical school commencements.
Examples of its impact upon medicine include medical students’ social media postings claiming that Jews wield disproportionate power, antisemitic slogans at the University of California, Los Angeles (UCLA) David Geffen School of Medicine, antisemitic graffiti at the University of California, San Francisco (UCSF) Cancer Centre, Jewish medical students’ exposure to demonization of Israel diatribes and rationalizing terrorism; and faculty, including a professor of medicine at UCSF, posting antisemitic tropes and derogatory comments about Jewish health care professionals. Jewish medical students’ fears of retribution, should they speak out, have been reported. “Our recent unpublished survey of Jewish physicians and trainees demonstrated a twofold increase from 40% to 88% for those who experienced antisemitism prior to vs after October 7,” they stated.
In some schools, Jewish faculty are speaking out. In February, the Jewish Faculty Resilience Group at UCLA accused the institution in an open letter of “ignoring” antisemitism at the School of Medicine, charging that its indifference to the matter “continues to encourage more antisemitism.” It added that discrimination at the medical school has caused demonstrable harm to Jewish students and faculty. Student clubs, it said, are denied recognition for arbitrary reasons; Jewish faculty whose ethnic backgrounds were previously unknown are purged from the payrolls upon being identified as Jews; and anyone who refuses to participate in anti-Zionist events is “intimidated” and pressured.
Given these findings, many American physicians are worried not only as Jewish doctors and professionals, but for Jewish patients who are more than ever concerned with whom they’re meeting. Can we really conceive of a future where you’re not sure if “the doctor will hate you now?”
Henry Srebrnik is a professor of political science at the University of Prince Edward Island.
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The 2025 Toronto Walk (and talk ) for Israel
By GERRY POSNER There are walks and then there are walks. The Toronto UJA Walk for Israel on May 25, 2025 was one of a kind, at least as far as Canada and Jews are concerned. The number of people present was estimated to be 56,000 people or 112,000 total shoes. (How they get to that number is bewildering to me, since there is no one counting). This was 6,000 more than last year. Whether it is true or not, take it from me, it was packed. The synagogues in Canada should be so fortunate to get those numbers in total on High Holidays. The picture here gives you a sense of the size of the crowd.
This was my first walk in Toronto for Israel and I was with my granddaughter, Samantha Pyzer (not to forget her two friends whom she managed to meet at the site, no small feat, even with iPhones as aids). The official proceedings began at 9:00 a.m. and the walk at 10:00 a.m. There was entertainment to begin with, also along the way, and at the finish as well. The finish line this year was the Prosserman Centre or the JCC as it often called. The walk itself was perhaps 4 kilometres – not very long, but the walking was slow, especially at the beginning. There were lots of strollers, even baby carriages, though I did not see any wheelchairs. All ages participated on this walk. I figured, based on what I could see on the faces of people all around me that, although I was not the oldest one on the walk, I bet I made the top 100 – more likely the top 20.
What was a highlight for me was the number of Winnipeggers I met, both past and present. Connecting with them seemed to be much like a fluke. No doubt, I missed la lot of them, but I saw, in no particular order (I could not recall the order if my life depended on it): Alta Sigesmund, (who was, a long time ago, my daughter Amira’s teacher), Marni Samphir, Karla Berbrayer and her husband Dr. Allan Kraut and family. Then, when Samantha and I made it to the end and sat down to eat, I struck up a conversation with a woman unknown to me and as we chatted, she confirmed her former Winnipeg status as a sister-in- law to David Devere, as in Betty Shwemer, the sister of Cecile Devere. I also chanced upon Terri Cherniack, only because I paused for a moment and she spotted me. As we closed in near the finish, I met ( hey were on their way back), Earl and Suzanne Golden and son Matthew, as well as Daniel Glazerman. That stop caused me to lose my granddaughter and her pals. Try finding them amid the noise and size of the crowd – but I pulled it off.
As I was in line to get food, I started chatting with a guy in the vicinity of my age. I dropped the Winnipeg link and the floodgates opened with “ Did I know Jack and Joanie Rusen?” So that was an interesting few minutes. And I was not too terribly surprised to come across some of my Pickleball family. All of these meetings, along with spotting some of my sister’s family and other cousins, were carried on with the sound of the shofar as we moved along the way. In short, this was a happening. Merchants selling a variety of products, many of them Israeli based, were in evidence and, of course, the day could not have ended without the laying of tefillin, aided by Chabad, who have perfected the procedure to take less than a minute. See the photo. Chabad had a willing audience.
Aside from the joy of sharing this experience with my granddaughter, the very presence of all these Jews gathered together for a common reason made this day very special to me. However, there was a downside to the day. The downside was that, as we began to walk back to our car there was no other way I could figure out how to return when the rains came and came. While we walked faster, we were impeded by pouring rain and puddles. But Samantha wanted to persevere, as did I. We made it, but were drenched. My runners are still drying out as I write this two days later.
What with being surrounded by 56,000 people, the noise, the slow walking, and the rain, I can still say the day was a real highlight for me – one of the better moments since our arrival in Toronto in 2012. As well as the photos we took along the way, I have the reminder of the day, courtesy of the UJA, as evidenced from the photo. It was not just the walk, but the talk that accompanied the walk that made it so worthwhile for me. I would do it again, minus the rain.