Beyond "Naza". Only Israel accuses itself. It’s called democracy

In the most controversial scene of “Naza”, an anonymous source describes an alleged system used by Israel to estimate collateral damage prior to attacks against Hamas. The interviewer asks him what the maximum number of casualties was that he recalls being authorised for a single attack. “Approval was given for 500,” says the source. We had already heard this on the evening of 17 October 2023, when there was an explosion in the car park of the Ahli Hospital in Gaza City. “Israel bombs Gaza hospital, 500 dead”. The story about the hospital was accepted unquestioningly by the global and Italian media. The explosion, however, had been caused by a missile fired from Gaza. But the thrill of accusing Israel – or, better still, of being able to accuse it using the words of Israelis themselves – is too strong.

In response to “Naza”, the film by Israeli directors Yuval Abraham and Rachel Szor that won an award at Venice, the Israeli government and the IDF have reacted by speaking of “lies”, prompting some ministers to invoke “treason” and the revocation of citizenship. Netanyahu’s rival in the elections, former General Gadi Eisenkot, also commented on the film: “It is a difficult and just war against a cruel enemy who has massacred, raped and kidnapped. The decision by Israeli filmmakers to take to the international stage and cast a moral shadow over the soldiers is moral blindness.”

Setting aside the accusations and falsehoods, ‘Naza’ stands as evidence of Israel’s strength. It should be acknowledged that this peculiar form of ‘Israeli fascism’ is unique in that it permits its critics to label it fascist on a daily basis within its own newspapers.

“Synonyms” by Nadav Lapid, winner of the Golden Bear at Berlin, is a film about an Israeli man who flees to Paris in an attempt to erase his military past, of which he is ashamed. “Foxtrot” by Samuel Maoz, winner of the Silver Lion at Venice, is a critique of compulsory military service. “Waltz with Bashir” by Ari Folman was nominated for an Oscar and won a Golden Globe: it tells the story of a tormented Israeli veteran attempting to recover repressed memories linked to his alleged involvement in the Sabra and Shatila massacre. Not to mention “The Gatekeepers”, the multi-award-winning documentary that was also nominated for an Oscar, in which six former heads of the Shin Bet (Israel’s internal security agency) criticise the occupation.

And then ‘Ajami’ and ‘Beaufort’, two further Israeli films nominated for Best International Feature Film, which depict the futility of war through the eyes of soldiers at an isolated outpost, right up to “No Other Land”, directed by a Palestinian-Israeli collective (which includes Yuval Abraham, the director of “Naza”) and which won the Oscar for Best Documentary in 2025.

Whilst ‘Fauda’ is accused of ‘propaganda’ and of portraying 7 October for what it was – a pogrom – there is this long Israeli list of wounds laid bare in public. A luxury that, in the Middle East, only Israel can boast. Only in Israel does a film industry, an investigative press, a festival and a host of writers exist who dare to be hated in their own country.

The army may refute anonymous sources; ministers may invoke treason; the viewer may reject an ideological argument. But only in Israel is dissent not a crime, but a badge of honour for democracy. Now imagine a Palestinian filmmaker in Gaza (many so-called ‘journalists’ have been revealed to be Hamas operatives) gathering testimonies from those who have seen Hamas use hospitals, schools and civilian facilities as human shields; filming the theology of Islamic martyrdom, the cult of 7 October, the tunnels and the round-ups of civilians. That film does not exist: not because there is a lack of intelligence or courage amongst Palestinians, but because there is no political space in which criticism of terrorism is a right rather than a suicidal act.

Hamas does not produce ‘Naza’, but only silence, death and propaganda. Thus, whilst an Israeli defending his country is suspected of propaganda and those who accuse him enjoy worldwide acclaim and prestige, a Palestinian defending Hamas is hailed as a ‘resistance fighter’ and those who accuse it are branded as ‘collaborators’. The Lebanese director Ziad Doueiri filmed some scenes for one of his films on Israeli territory. That was enough for him to be arrested on his return from the Venice Film Festival, accused of “collaboration with Israel”. The most brilliant Palestinian writer, Abbad Yahiya, has had his novel "Crime in Ramallah" confiscated throughout the West Bank. The book was deemed “indecent” and “incompatible with morality”. The publisher was arrested. Why? Because it offers a glimpse into underground Palestinian society, from the homosexual who fears for his life to the drinker.

Israel, on the other hand, continues to produce works that contradict this view. A noble and arduous contradiction that does not exist on the other side of the border. And this is the real scandal to which no festival dedicates twenty-five minutes of applause.