Sundance Makes A[n Anti-Israel] Statement

Editor’s Note: In 2023 and 2024, JITC Hollywood Bureau held the first ever official Sundance panels on Jewish representation (to standing room only crowds – watch them here). We very much enjoyed working with the team at Sundance and got tremendous feedback from the audiences. However, at last year’s festival, a large group of protesters gathered during our panel in an undesignated location on Main Street, spewing horrific anti-Jewish messages. We were disappointed that this group was not cordoned off in the designated protest area, as is Sundance’s official policy. We decided to sit out the festival this year in order to see how the Jew haters would be handled. While we’re thrilled that Sundance implemented antisemitism training this year for their staff and partners (due to our recommendation and intro), a small group of anti-Jewish protesters returned to Main Street and were allowed to spew their hateful messages in an undesignated protest area again. Perhaps, even more troubling were the films that were chosen this year and those that were not. Sundance receives approximately 15,000 submissions each year. Only 93 films are selected. Three of those 93 had an anti-Israel message, zero had a pro-Israel message, as the anonymous industry veteran writes below. Why is it that the Jew haters feel safe to loudly protest in the main thoroughfare of the festival but this industry insider was only willing to share these thoughts anonymously? We hope that Sundance will continue to work to make Jews feel safe. We hope to return when they do.

I am just returning from the Sundance Film Festival, where I was quite shocked by the anti-Israel film presentations. Not only did the festival very quietly not take any Israeli films, but they also included multiple films highlighting Palestinian perspectives. The programmers were clearly making a statement.

All That’s Left of You by Cherien Dabis is an epic tale of three generations of a Palestinian family from 1948 till the modern day.  The film highlights the trauma of Palestinians and shares an important human story of one family. The acting is fabulous; however, the film lacks direction and has a confused tone. It misses key dramatic moments and has some questionable production flaws, such as amateur hair and makeup.

More disturbing, it seems the director has no idea what an Israeli Soldier looks like. The film is filled with factual mistakes regarding the IDF, which removes the credibility of the narrative.  From women soldiers patrolling a Palestinian refugee camp in the 1970’s, to completely inaccurate soldier costumes… nevertheless, we are meant to believe it when Israeli soldiers abuse a Palestinian in front of his young child. If you want to tell a credible story, you need to research and be accurate.

The documentary Coexistence My Ass by Amber Fares follows Noam Shuster Eliassi, an Israeli who grew up in the peace village of Neve Shalom and has turned her advocacy into comedy. The film gives a real perspective on the complex reality of coexistence in Israel. Cinematically, the film drags and is tied together with a one-woman show of Noam telling her story. This is a pretty cheap cinematic device that is below standard for a leading film festival like Sundance.

The film follows Noam for years through the ups and downs of Israeli society, and the third act focuses on October 7th. Although the film shows the complexity of life in Israel, it climax’s with the lead calling Israel’s acts in Gaza after Oct 7th  – “a Genocide.” It is ok to critique the Israeli government and to fight for equality. However, the film ignores the significance of Palestinian citizens and chooses to use a dangerous triggering term as its finale.

Somehow, this film was supported by multiple Jewish organizations, including Jewish Storytelling Partners, which is funded by Spielberg himself!

But possibly the most problematic part of the film was the comedy. Noam is outspoken and has a few good lines, but sadly, is not very funny. The studio audience in the film laughed, but the audience at the screening did not laugh at her jokes.

Both these films received standing ovations and were beloved by the supportive audience at Sundance. However, filmmakers and Jewish industry members behind closed doors noted how uncomfortable and irresponsible the programming is. Another short film relating to the Palestinian perspective was Flowers Stand Silently and Reflect, which was noted by multiple filmmakers who attended the screening as another irresponsible selection.

Sundance should not censor itself, but it should at least present good, responsible films and create a place for dialogue. Showing one side of the conflict with limited cinematic quality clearly is a statement by the programmers and a reflection of the dangerous direction this industry is taking.