The backlash against filmmakers Yuval Abraham and Rachel Szor shows how a society learns not to see what it’s doing in Gaza
ed note–not just entire books, but indeed entire LIBRARIES of commentary could (and indeed SHOULD) accompany this, but in the interests of not over-burdening the already over-burdened Gentile attention span, we’ll try and keep it as ‘short & sweet’ as possible.
The first thing to keep in the forefront of our collective Gentile consciousness is the fact that just as immutable, unchanging, and unnegotiable as gravity itself, the Jews are liars, every bit as much as water is wet and fire is hot.
Now, sometimes the lies are ‘whoppers’ that are easily discovered the moment in which the words leave the Jewish mouth and begin to stink up the air, such as ‘Jews don’t own the media, that’s a canard’… or ‘Jews don’t own the banks, that’s a blood libel…’
Other lies however are crafty and more cunning, such as the lies appearing below in the OpEd ‘scribed’ by our deceptive Jewess writer.
She, as an Israeli Jew, as a ‘Jew of conscience’, is ‘SHOCKED’ after seeing the film ‘NAZA’ made by fellow Israeli filmmakers Yval Abraham and Rachel Szor. She is ‘SHOCKED’ at the casualness with which IDF soldiers (MURDERERS, MARAUDERS AND CHILDREN OF THEIR FATHER, THE DEVIL) describe what they do on a daily basis to the defenseless people of Gaza as if it were all just a video game to them, which, to many of them, it is. She is SHOCKED at the reaction of Israeli society to the film, as feral, fever-brained terrorist Jews engage in what they do best, which is killing or threatening to kill others who disagree with their Judaic religious worldview.
‘Shocked’, ladies and Gentile-men, simply ‘shocked’…
In the interests of getting down to the ‘meat of the matter’ then, let us ‘adjust’ the word ‘shocked’ which our ‘good Jew of conscience’ utilizes in her pontification with a similar word that is actually more appropriate to this discussion, and that word is–
‘SCHLOCKED…’
Now, for those not in the know, ‘schlock’ is a commonly-used word amongst those of the ‘yiddish’ pedigree when they want to describe something that is a cheap counterfeit or a copy, like the ‘genuine’ Rolex watches that some guy walking the streets of NY city tries to sell for a mere $5.
And that is exactly what our deceptive Jewess, Mz. ‘Libby Lenkinski’ writing for The Jewish Daily Forward is trying to sell everyone, ladies and Gentile-men, the ‘schlock’ of her ‘shock’ as a ‘Jew of conscience’ over what has happened in Gaza.
Remember, fellow Gentiles, she is not writing this ‘examination of conscience’ a mere 3 DAYS after the Jews and their infernal Jewish state began their religiously-commanded genocide of Gentiles in Gaza, but 3 YEARS…
It took 3 YEARS and a movie to tug at her heartstrings and open her eyes concerning the utterly incurable brutal nature of her ‘Jewish state’ and of the savage Jews that live there and make it what it is.
So what’s ‘the rub’ here, fellow Gentiles? What’s the ‘angle’ and what is she trying to accomplish?
Easily understood with a response of a mere 8 words, and those 8 words are–
‘BY WAY OF DECEPTION, WE SHALL MAKE WAR…’
–which just so happens to be, surprise, surprise, the motto of Israel’s assassination agency Mossad, ‘Murder, Inc’ if you will, which not only assisted Netanyahu in making all the necessary intelligence preparations for the Oct. 7th attacks, but all the murder and mayhem that has taken place since then.
And in this case, it boils down to a simple issue of ‘reconstructive surgery’, ladies and Gentile-men. The building outrage on the part of 8 billion Gentiles against the Jews for what they have done and for what and who THEY ARE is making some of them nervous, and in the interests of making sure that they ‘freshen up’ their outward images in the hopes of escaping the grapes of wrath that are sure to arrive, they write pieces such as this while moaning, ‘oy vey…oy vey…’
Now, time for a little pop quiz, ladies and Gentile-men, something that should not be that difficult for those who are regular readers of the info and commentary that appear here on this humble little informational endeavor.
Fill in the blank, s’ils vous plait–
FISH SWIM, BIRDS FLY, AND JEWS___
Hint–the missing word rhymes with ‘FLY’
Libby Lenkinski for The Jewish Daily Forward
I have seen NAZA and I am in shock…
Not simply because of what the film reveals about how Israel is waging the war in Gaza, but because of what it reveals about how a society becomes capable of doing this at all. And as I’ve watched the reaction in Israel since the film’s premiere at the Venice International Film Festival, I’ve come to see that the reaction itself reflects the very system that the film exposes.
There are two systems at the center of NAZA. The first is the technical one: the surveillance, targeting, artificial intelligence, and military technologies that allow the Israeli army to identify and kill people in enormous numbers.
The second is the psychic and narrative system that makes the first one possible. It allows people inside the military to participate in this machinery, and journalists, filmmakers, politicians, and ordinary people outside it to absorb what is happening, rationalize it, defend it, or simply carry on.
The reaction to the film has become part of the evidence.
That is what has shaken me.
The film, by Israeli journalists Yuval Abraham and Rachel Szor, takes us inside the systems of surveillance, targeting and killing used by the Israeli military in Gaza. But it is also an investigation into the people inside those systems and the stories they tell themselves about what they are doing.
Some of the officers interviewed are members of Israel’s elite military and intelligence units. They speak about their work with an almost surreal normalcy. One talks about coming home after his work and continuing to work on his Ph.D. in clinical psychology. Another talks about going to Poland on a Holocaust trip in high school, being taught that the Nazis were pure evil, and now understanding what made them do what they did.
NAZA exposes Israel’s crisis of credibility over Gaza
Abraham asks those they interview whether anyone questions what they are doing.
No one does.
This blindness doesn’t stop with the military.
It lives in the stories we tell ourselves about who we are, what we are defending, whose lives we are responsible for, and whose suffering can be pushed outside the frame. It lives in the deep Israeli and Jewish memory of vulnerability and annihilation, in the knowledge that Jewish safety is not an abstraction. It lives, too, in what happens when that memory becomes so consuming that another people’s suffering becomes something we can only see through our own fear.
I have watched that dynamic reveal itself over and over since Venice.
Prime Minister Benjamin Netanyahu has attacked the film and announced plans to pursue legislation that could strip citizenship from Israelis who ‘defame’ Israeli soldiers abroad, explicitly citing NAZA and its filmmakers. Culture Minister Miki Zohar has called Abraham and Szor traitors and sought to have their citizenship revoked.
Protesters have gathered outside Szor’s parents’ home for multiple nights, chanting ‘death sentence for the traitors.’ Demonstrators have sought out the offices of Local Call, where Abraham works, and activists have threatened to track down the filmmakers and their families. Graffiti depicting the filmmakers as traitors has appeared on the streets.
And all of this is happening before almost anyone in Israel has even seen the film. The film has not even been released in Israel — but the fury has not waited for a screening.
I cannot get past that.
The reaction is not some separate story happening around NAZA. It is part of what NAZA is showing us.
Attack the person asking the question. Question their loyalty. Invoke existential danger. Change the subject. Make the person holding the mirror into the threat.
This is where Oct. 7 enters the story.
Of course Oct. 7 happened. Israelis were murdered and kidnapped. The trauma is real. The responsibility of journalists to verify serious allegations is real.
But there is a difference between acknowledging Oct. 7 and requiring every critique of Israel’s military actions to pass through it before it can be heard.
I watched veteran journalist Raviv Drucker’s interview with Abraham and found myself increasingly disturbed by the frame. The questions repeatedly returned to whether the film was sufficiently balanced, whether Abraham had sufficiently accounted for Oct. 7, whether his sources could be trusted.
These are not illegitimate questions, but when they become the ritual through which every serious critique of Israel’s military actions must pass, something else is happening. The burden keeps shifting onto the person asking the question: Prove that you understand us. Prove that you see our pain. Prove that you are not erasing us. Prove that you are still one of us.
And only then are we allowed to begin talking about what Israel is doing.
And then there was something that happened to me personally. The head of one Israeli film forum told me it would be better not to defend Abraham and Szor publicly because it could cost ‘us’ the elections.
I understood exactly what she meant, and that is what frightened me. ‘Don’t make things harder… Don’t give ammunition to the other side… Don’t jeopardize the political outcome… Don’t defend these two young filmmakers too loudly…’
The instinct is the same: don’t disrupt the story that allows us to keep going.
The kind of collective psychosis that allows my people, including my people in Tel Aviv, to go about their lives as if things are normal while Gaza is being destroyed is not separate from what NAZA describes.
It is part of it.
I am my grandfathers’ granddaughter. One was killed in 1948 fighting for the creation of Israel. The other survived the Holocaust and became a human rights activist. I have spent my life carrying these two parts of Jewish history inside me: the absolute necessity of Jewish safety and the absolute necessity of human rights. I don’t experience those things as contradictions.
What NAZA has forced me to confront is what happens when one of those truths becomes a shield against the other.
That is what shook me about NAZA. Not only what it shows us about Gaza. Not only what it shows us about the technology that makes killing possible, or the people who learn to participate in it. But what it shows us about the stories we need to tell ourselves in order not to see what is happening in front of us, and what happens to those who dares to hold up a mirror and refuses to let us look away.