Miki Zohar, Israel‘s culture minister, announced a significant shift in funding for the Ophir awards, Israel’s national film awards, following a contentious award for the documentary “No Other Land.” Zohar is particularly critical of the film’s treatment of the Israeli-Palestinian conflict. He calls it “sabotage in the service of the state of Israel.”
In a recent statement, Zohar declared that starting with the 2026 budget, the Ophir awards ceremony will no longer receive taxpayer funding. He went on to call the annual event “shameful and out of touch.” He thinks it does not show what most Israeli citizens really feel. To some, his comments underscore the increasing friction between the government and the film community. This is particularly the case when it comes to how contentious political issues are portrayed.
Zohar’s announcement comes on the heels of his having introduced a bill in February to reform Israel’s film funding. The proposed legislation would require the government to focus its resources on films that succeed in the marketplace. It favors projects that are least likely to be politically toxic or embarrassing to the state.
“The pink circus that the Ophir awards ceremony represents spits in the faces of our heroic soldiers,” Zohar wrote. Under my watch, Israeli taxpayers will not be footing the bill for a ceremony that continues to further destructive, divisive narratives.
The award-winning documentary film “No Other Land” experienced a similar hostile reaction. From filmmakers in the industry to you and me, everyone has criticized it. Filmmaker Nadav Ben Simon spoke to the value of collaboration, saying that cinema begins and ends in cooperation.
“Over the years, we have also collaborated with Palestinian colleagues on films, series, and documentaries that seek to encourage dialogue, mutual understanding, peace and an end to violence … [Boycotts] do not advance the cause of peace. Instead, they harm precisely those who are committed to fostering dialogue and building bridges between peoples.” – Nadav Ben Simon
The ramifications of Zohar’s funding cancellation go well past the affected awards. For filmmakers from Israel, this decision represents an enormous blow. This is even more pronounced for those whose artistic practice engages with provocative social and political issues. Most recently, this fall, Paramount Pictures joined us in condemning attempts to censor Israeli filmmakers by virtue of their national identity.
“We do not agree with recent efforts to boycott Israeli film-makers. Silencing individual creative artists based on their nationality does not promote better understanding or advance the cause of peace.” – Paramount
This situation has created an outcry from many creators who continue to fight for artistic independence and freedom of expression. Baher Agbariya, a filmmaker involved with “No Other Land,” expressed a beautiful artistic motivation for promoting peace.
“This film was born from love for humanity and cinema, and its message is one – the right of every child to live and dream in peace, without siege, without fear, and without war.” – Baher Agbariya
As this debate plays out, it reveals the often tangled interplay between art, politics, and public funding in Israel today. The rift between Zohar’s government and those advocating for artistic expression raises questions about how cultural narratives are shaped and funded.
Uri Barbash, upon landing in Israel, one of the iconic figures in Israeli cinema, echoed the call to urgency to deal with national issues outside of artistic arguments.
“It is our sacred duty to return all the kidnapped to the bosom of their families, and immediately, to end the damned war and replace the ‘divide and rule’ regime that declared war on Israeli society.” – Uri Barbash