In Israel, the crazy cuts both ways. The Israeli film industry was rocked this morning when Culture and Sports Minister Miki Zohar announced the government would halt public funding for the Ophir Awards, Israel’s top film honors. The announcement came less than 24 hours after The Sea (HaYam), a drama about a Palestinian boy’s dream of reaching the Mediterranean for the first time, swept the ceremony with five prizes, including Best Picture.

The Ophir Awards are Israel’s equivalent of the Academy Awards, and the Best Picture winner automatically becomes the country’s submission for the Best International Feature Film category at the Oscars.

Zohar released a sharply worded statement calling the ceremony “a disgraceful event spitting in the face of Israeli soldiers,” accusing the film of portraying the IDF and the State of Israel in a negative light. “There is no greater insult to Israeli citizens than this embarrassing and detached annual spectacle,” he declared. The Ministry confirmed that from 2026 onward, the Ophir Awards, funded through the Israeli Academy of Film and Television, will no longer receive state support.

A Divisive Film, An International Platform

The Sea, directed by Shai Carmeli Pollak and produced by Baher Agbaria, follows a boy from a village near Ramallah whose greatest wish is to see the sea in Tel Aviv. Thirteen-year-old Mohammed Gazawi, who won Best Actor, became the youngest recipient in Ophir history. “I wish for all the children of the world to live and dream without wars,” he said on stage.

Carmeli Pollak, who also won for Best Screenplay, used his acceptance speech to highlight the humanitarian toll of the Gaza war: “Just two days ago, a friend of mine in Gaza survived an airstrike that killed many people. He wrote me, ‘Today I went to the market and found nothing to eat. We boiled water with spices and drank it.’”

Actor Khalifa Natour, who won Best Supporting Actor, did not attend. In a statement read on his behalf, he described his horror at “the genocide taking place in Gaza,” adding that art felt meaningless in comparison.

Academy Pushes Back

While the Minister condemned the film, the Israeli Academy of Film and Television defended its independence. Chairman Asaf Amir emphasized that members, filmmakers and industry professionals, vote freely, guided by “a commitment to cinematic excellence, artistic freedom, and freedom of expression.”

Without naming Zohar directly, Amir noted: “At a time when parts of the international film community are calling to boycott us, the choice of this film is a resounding answer. I am proud that an Arabic-language film, created through collaboration between Jewish and Palestinian Israelis, will represent Israel at the Academy Awards.”

A Ceremony Marked by Protest

The awards night itself was politically charged. Dozens of filmmakers arrived wearing black shirts emblazoned with slogans such as “A Child is a Child” and “Stop the War.” Demonstrators outside the venue called for an end to the ongoing conflict.

Carmeli Pollak has long described his work as shaped by activism. In interviews, he has recalled participating in anti-separation wall protests in the West Bank and witnessing first-hand the gap between the pastoral setting of Palestinian villages and the intrusion of armed forces. “The longing for the sea was something I heard again and again,” he explained, noting that many Palestinians he met had never been able to visit the coast.

Film Industry Watch: Continuing Coverage

This latest clash follows Film Industry Watch’s recent reporting in Israeli Cinema Under Siege: Government Reforms, Alleged Corruption, and a Fight for Artistic Survival, which examined Minister Zohar’s broader reforms of Israel’s film funds, allegations of systemic corruption, and the growing struggle of independent filmmakers to survive, as well as systematic gender discrimination against Israel’s male filmmakers, as the crazy cuts both ways. The decision to defund the Ophir Awards further deepens the crisis, tying artistic recognition to political loyalty, and placing Israel’s once-celebrated cinema industry at a dangerous crossroads.

What Comes Next?

The Minister’s decision raises profound questions about the future of Israel’s most prestigious film prize, long regarded as a showcase of the country’s cinematic achievements. For many in the industry, the move represents not only an attack on artistic freedom but also a politicization of cultural institutions.

With The Sea now set to represent Israel in the international spotlight, including a likely Oscar campaign, the controversy is unlikely to fade soon. Instead, it underscores the growing tension between cultural expression and political pressure in Israeli cinema today.

SOURCES:

https://www.haaretz.co.il/gallery/cinema/2025-09-17/ty-article/00000199-568e-d45d-a3bf-ffcfed2f0000

https://e.walla.co.il/item/3781526

The post Israeli Culture Minister Pulls Funding from Ophir Awards After Palestinian-Themed Film “The Sea” Wins Top Prize first appeared on Film Industry Watch.

The Israeli film industry, once celebrated for its groundbreaking work on both local and international stages, now finds itself at a critical crossroads. Recent government reforms spearheaded by Minister of Culture and Sport, Miki Zohar, aim to overhaul the funding structure of Israel’s cinema funds, raising alarm among filmmakers. Critics argue that these reforms, introduced during a time of war and economic uncertainty, threaten to dismantle the very foundation of Israeli cinema. The controversy intensifies as these changes seem poised to bolster a system already rife with alleged corruption and monopolistic practices.

Related new article published July 10th 2025 – 11 Female Nominees, One Male: Inside Israel’s Chaos & Derangement

The Reforms: Prioritizing Commercial Success

At the heart of Zohar’s proposed reforms is a shift in funding priorities. The reforms, which include revised criteria for film fund allocations, favor commercially-oriented films over artistic and niche productions. Documentaries, short films, student projects, and independent art-house films—long the hallmark of Israeli cinema—face severe funding cuts.

Zohar argues that public funds should support films with broad audience appeal, eschewing those that cater to limited or international audiences. “Public money should return to the public,” he stated, emphasizing a focus on profitability and accessibility over critical acclaim or festival recognition. Yet, filmmakers caution that commercial success is inherently unpredictable, and forcing art to fit into a profit-driven model risks stifling creativity and diversity.

Industry Outcry: An Attack on Freedom of Expression

The proposed changes have sparked widespread backlash from filmmakers and industry professionals. A petition signed by over 1,500 filmmakers, including prominent names such as Ari Folman and Eran Kolirin, calls for an immediate halt to the reforms. The petition describes the move as a “cinematic coup,” accusing the government of attempting to control creative content and suppress artistic freedom. “After the reform, the stories of Israeli cinema will disappear, along with the industry that employs thousands,” the petition warns.

This crisis is compounded by ongoing challenges, including the war’s disruption of productions and an international boycott of Israeli films. Many fear that the reforms could deliver a fatal blow to an already struggling sector.

Alleged Corruption in the Film Funds: The Rabinovich and Gesher Foundations

Compounding the controversy is the revelation of alleged corruption within Israel’s two largest film funds: The Rabinovich Foundation for the Arts and the Gesher Multicultural Film Fund. Investigations have uncovered claims of systemic misconduct, including alleged conflicts of interest, insider favoritism, and financial irregularities.

Giora Eini, head of the Rabinovich Foundation since 1995, is accused of leveraging political connections to maintain control over hundreds of millions of shekels in film funding. Allegations include employing journalists as script readers to prevent negative coverage, manipulating evaluation processes, and fostering a monopolistic environment. The Rabinovich Fund, along with United King, a production and distribution company tied to Moshe Edery, allegedly controls a disproportionate share of the industry’s resources. Moshe Edery is also a good friend of Benjamin Netanyahu and Israel’s Right Wing parties. Nearly 50% of Rabinovich’s funding over recent years went to projects tied to Edery’s company, raising concerns about cronyism and mismanagement of taxpayer money, particularly in political context, in a country that is already going through a slow but constant erosion of its democratic institutions.

Connecting the Dots: A Systemic Takeover

Zohar’s reforms appear to funnel even more resources into this already embattled system, further empowering the alleged “cinema mafia.” By prioritizing commercial projects, the reforms align with the interests of those who have historically benefited from questionable practices. Critics argue that instead of diversifying funding and supporting emerging voices, the reforms will consolidate power within a small, insular group accused of draining public funds for personal gain.

Moreover, insiders claim that these reforms mirror long-standing patterns of favoritism and corruption. Members of the Israeli Film Council, tasked with oversight, have allegedly received funding from the very funds they regulate. Projects with low evaluator scores have mysteriously secured financing, and insider deals between fund managers and council members have eroded trust in the system.

The Bigger Picture: A Threat to Israeli Culture

This unfolding crisis raises broader concerns about the future of Israeli culture. Filmmakers warn that Zohar’s reforms, combined with alleged corruption, risk transforming Israeli cinema into a vehicle for commercial mediocrity, sidelining the artistic and critical voices that have defined its global reputation. As war and political turmoil continue to disrupt the nation, the creative sector finds itself fighting not only for survival but also for its integrity and identity.

For now, the Israeli film industry stands at a tipping point, with its fate resting on whether public outcry and international attention can halt the reforms and hold those responsible for alleged corruption accountable. Without systemic change, the vibrant, diverse stories of Israeli cinema risk being drowned out by a chorus of commercialism and cronyism.

FURTHER READING:

Articles from the Israeli press. You may automatically translate the articles using Chrome. Right click, and then “Translate Page.”

https://www.haaretz.co.il/gallery/galleryfriday/2024-04-25/ty-article-magazine/.highlight/0000018e-ffca-d64a-a9ae-ffebd7e40000

https://www.maariv.co.il/culture/movies/article-1121414

The post ISRAEL: The Takeover of Israeli Cinema: Politics, Corruption, and Cultural Erosion first appeared on Film Industry Watch.

The article announcing the firing:

“Publicly, filmmakers spoke about Radosław Śmigulski either well or not at all. Many stories were never told.

I must admit that I write this with undisguised satisfaction: Radosław Śmigulski has been dismissed from his position as director of the Polish Film Institute . This information was announced at a conference on Thursday by the Minister of Culture, Bartłomiej Sienkiewicz. This is great news for many Polish filmmakers, for whom the last few years have been associated with constant fear.”


SOURCES:

https://kultura.onet.pl/film/wiadomosci/apel-do-ministra-sienkiewicza-w-sprawie-pisf-popada-w-ruine/t1zpy7v

https://wyborcza.pl/7,101707,30878413,arogancja-i-buta-na-szczescie-robert-smigulski-nie-bedzie-juz.html

The post POLAND: A Success Story – Polish Film Institute Falling Into Ruin, Corrupted Head Fired first appeared on Film Industry Watch.