The Israeli documentary Naza has made its U.S. premiere with a dual purpose: to energize support for a defund-the-IDF movement in the United States and to influence the Israeli electorate as it approaches crucial elections next month. The film’s director, Yuval Abraham, articulated the film’s intention to “penetrate the walls of justification and silence in Israeli society,” a message that will be tested in the coming weeks as voters in Israel weigh their options regarding Benjamin Netanyahu’s political future.
New York Film Festival Launch
This past weekend, Abraham and co-director Rachel Szor celebrated the debut of their Guardian-produced film at the New York Film Festival, where the audience received it with enthusiasm, though the reaction did not reach the levels of some previous festival screenings. Abraham emphasized that their principal motivation for bringing the film to the U.S. and releasing it theatrically nationwide on October 9 is to alter the political calculus surrounding U.S. support for Israel. During the premiere, he remarked, “It’s not a coincidence the last line of text in the film is that these crimes are ongoing not just because our country is doing it but because your country is supporting and funding it.”
Controversial Subject Matter and Reactions
The film premiered at a time when U.S. aid to Israel has prompted heated debates in congressional contests across the country, making Naza a rare foreign-language documentary that directly engages in American electoral politics. The film focuses on interviews with two dozen IDF veterans of the Gaza war, offering detailed insights into the Israeli military’s operations. While some may find its content predictable given contemporary discussions about warfare technology and human collateral damage, it presents powerful and disturbing revelations, including a soldier’s comparison of his actions to those of the Nazis, elements that are sure to provoke strong reactions from varying perspectives.
Juxtaposition of Perspectives
A particularly striking choice made by the filmmakers is the visual juxtaposition of testimonies from veterans with drone shots of Israelis living in affluent apartments, watching television. This contrast aims to draw attention to the perceived privilege that underlies the conflict, but it may also alienate supporters of Israel who could view this as a sensationalist portrayal of everyday life amid war. The film’s approach to the subject matter reflects the polarized nature of current political discourse, where perspectives are often viewed through dichotomous lenses.
Filmmakers’ Intent and Audience Reaction
Abraham, along with Szor, previously directed the acclaimed 2025 Oscar-winning documentary No Other Land and bases Naza on his investigative reporting in outlets like The Guardian and +972. At the festival, he highlighted his aim to provoke grassroots action in the U.S., reiterating the film’s relevance during an era of heightened awareness about Israeli military actions. Szor noted that the film specifically targets the left in Israel, suggesting that even in liberal circles, there is a palpable reluctance to address the ongoing injustices.
Reception in Israeli Media and Political Landscape
While some media outlets in Israel have shown a degree of receptiveness to the film’s message, skepticism persists regarding the context provided. A recent review in Ha’aretz raised concerns about what the film leaves out. Those on the political right have generally distanced themselves from the project, with cultural minister Miki Zohar threatening repercussions for the filmmakers, an act that evokes the bombastic tendencies of Israeli political discourse. Abraham addressed the protests outside the venue head-on, stating, “It’s important for me to say that [the October 7 incident] is completely unjustified. But that doesn’t justify what you see in the film, the slaughter of so many civilians, the massacres at food sites.”
A Call for Empathy
Abraham’s remarks reflect a significant ethos behind the film, advocating for a nuanced understanding of conflict that recognizes the pain of all involved. His comments served as a reminder that empathy for Israeli victims should not diminish the need for accountability regarding Palestinian suffering. In a landscape where narratives tend to polarize, Abraham expressed his desire to avoid framing the issue as a zero-sum game. “I don’t think we want to live in such a world,” he said.
As Naza continues its theatrical run, its role as both a catalyst for dialogue and a source of controversy remains evident, leaving audiences to confront the complex realities of war and the political forces that shape them.
