Over the last 18 months, Jews globally have faced an exceptionally tumultuous time, as events in southern Israel sparked a wave of antisemitic incidents, significantly increasing in number. Longtime documentary filmmaker Wendy Sachs observed these occurrences and started to document their connections.
Sachs’ latest film titled “October 8” commences by depicting an unforeseen Hamas assault a day prior, followed by its consequences during the subsequent Gaza conflict. It delves into international demonstrations against Israel, as well as a surge in hostile language and acts towards Jews.
Or more concisely:
Sachs’ film “October 8” portrays the aftermath of an unexpected Hamas attack during the Gaza war, exploring global anti-Israel protests and escalating anti-Jewish rhetoric and violence.
The recently debuted documentary showcases various noteworthy personalities, such as Jonathan Greenblatt from the Anti-Defamation League, Lorenzo Vidino of George Washington University, Sheryl Sandberg in executive roles, Dan Senor as a podcaster, Ritchie Torres in politics, Debra Messing serving as an executive producer for the film, and Noa Tishby who has worked on shows like “In Treatment” and “Nip/Tuck”. Their collective argument is that what we’re observing today is essentially the same old prejudices and stereotypes repackaged – with anti-Zionism at its core being a disguise for denying Jewish self-determination.
As a passionate gamer, I’m always on the lookout for stories that resonate with my beliefs and values. In this case, I found myself drawn into the world of campus activism, following a group of courageous young women who are standing up for what they believe in, often at personal risk. Among them are Noa Fay, who transitioned from Barnard to SIPA, Talia Khan from MIT, and Tessa Veksler from UCSB. These ladies are championing pro-Jewish causes, and their stories are truly inspiring.
According to Sachs, it’s no accident that antisemitism has risen. She argues that as early as the 1990s, Hamas started planting seeds of anti-Jewish and anti-Israel hatred. This allegedly took place in a secretly recorded meeting at a Philadelphia hotel. (She claims they were plotting to disguise pro-jihadist agendas under the guise of social justice.) This is said to have led to the creation of Students for Justice in Palestine, or SJP, which the film suggests is not an organic, well-intentioned movement but rather part of a coordinated jihadi effort to undermine and demolish Israel.
Sachs started drafting a screenplay for her movie only a few weeks following October 7, 2023. However, she encountered numerous rejections from financiers and sales agents, who expressed appreciation for the film but had reservations about its commercial viability. Undeterred, she utilized her past experience as a booker on Dateline to secure and film approximately 80 subjects, around half of whom feature in the final production. She ultimately completed the movie last October, marking nearly a year since the October 7 attacks.
The budget of approximately $2 million was fully funded by donors, with the arrangement handled by movie producer-financier Teddy Schwarzman from Black Bear Pictures (known for ‘The Imitation Game’). Without any streaming platform or network showing interest, the film eventually secured distribution through Tom Ortenberg’s theatrical label Briarcliff Entertainment. Throughout his career, which includes stints at Lionsgate and Open Road, Ortenberg has been open to handling films deemed risky by others. For instance, he released Bryan Fogel’s Jamal Khashoggi documentary ‘The Dissident’ in 2020 when streaming platforms with Saudi ties declined it, and took on Ali Abbasi’s drama about Donald Trump and Roy Cohn ‘The Apprentice’ in 2024, a time when many studios were hesitant. This film would later earn Oscar nominations for Sebastian Stan and Jeremy Strong.
On October 8th, Ortenberg remarks that they are carrying on a long-standing practice of moving forward autonomously while many other firms remain spectators. “To be honest,” he says to The Hollywood Reporter, “I don’t believe we’ve fundamentally altered our objectives. I simply think the hesitancy of numerous Hollywood companies has become more noticeable.
The movie has started to gain popularity, raking in over $300,000 in just a few days since its premiere across 100 screens at AMC, Regal, and independent cinemas. Remarkably, its Monday earnings surpassed its Saturday takings – which is quite unusual for any film and indicates that the movie’s release momentum is growing.
Openly supportive of Israel, the documentary titled “No Other Land,” which won an Oscar and was self-distributed, has been garnering attention recently. This powerful film sheds light on the Israeli Defense Forces’ displacement of a long-standing Palestinian community in the West Bank. The movie, which surpassed $1 million at the box office over the weekend, is not directly counter to another film, but it could be said that they are competing for some form of ideological dominance. Both films delve into themes of self-determination, with one focusing on Jewish and the other on Palestinian struggles, each telling a compelling story of marginalization that is grounded in reality as well as individual perspectives.
On October 8th, headlines remain dominated by the ongoing conflict in Gaza and its aftermath within the U.S., with demonstrations taking place during Gal Gadot’s Hollywood Walk of Fame event on Tuesday.
THR had a conversation with Sachs and Tishby via Zoom, discussing the obstacles presented by antisemitism and the aims of their movie.
You decided to make this movie almost immediately after October 7. What specifically spurred you?
Similarly to many others, I was deeply saddened by the events that unfolded on October 7th. At that time, I was visiting my daughter at the University of Wisconsin and was watching the situation in Israel unfold. In the days that followed, we witnessed student protests spreading like dominoes across Tulane, Columbia, Penn, and numerous other universities where people were celebrating Hamas as freedom fighters rather than terrorists. This left me feeling as though the world had lost its sense of reason. During the following weeks, there was a noticeable absence of response from Hollywood, Capitol Hill, and women’s rights groups, among others. It was a gut-wrenching realization at such a fundamental level. As a result, I began drafting a proposal.
So much had yet to happen, though. Did you know what the film was going to be?
SACHS I wasn’t aware of it. All I knew was that something was unfolding. I exclaimed, “I must concentrate on what’s happening here, this is remarkable, this feels like a modern-day Kristallnacht.” It stirred up a generational trauma that led to a sort of awakening. One of the candidates I had been advocating for (Illinois Democratic Congresswoman Lauren Underwood) did not support the House resolution [condemning universities for supporting Hamas]. I didn’t want to acknowledge the antisemitism on the left before — I believed it was only coming from the right and far-right. Now, Noa is shaking her head—
As a gamer, let me share my perspective. For two decades now, I’ve been an American with roots in Israel. Over this time, I’ve noticed a certain bias when I reveal my heritage. It’s not political; it’s more like a furrowed brow, a hint of suspicion towards the world’s only Jewish state. I’ve seen this in various progressive circles here in Los Angeles, and over time, I’ve observed a shift in these spaces as well.
It’s disheartening to be so right about something for so long, but we’ve been discussing this issue for years. When I penned my first book in 2011 (“Israel: A Simple Guide to the Most Misunderstood Country on Earth”), we also established an online rapid-response team to counteract the growing hostility. So, October 8 marked a significant moment in a battle that’s been raging against Israel for roughly three decades.
I’ve spoken before Congress on three occasions and I’ve stated there that the West has been subtly conditioned to view Israel as the epitome of evil through Soviet-style propaganda and age-old theological antisemitism. The impact of this manipulation surpassed even the wildest expectations of those who orchestrated it.
Could you elaborate on the point made in the film, where it suggests that this rhetoric isn’t isolated but rather part of a strategic campaign, possibly a psychological operation? What kind of proof supports this claim? Many people might view protests as being led by well-intentioned students or citizens who are simply expressing disapproval of Israel’s actions in Gaza.
In 1993, Hamas, who were not yet labeled as a terrorist group by the U.S. government, convened at a Marriott in Philadelphia. The FBI bugged this meeting. During the gathering, they discussed strategies for penetrating American institutions such as media outlets and universities. Their suggested approach was to employ rhetoric that appeals to justice and the fight against apartheid on the left, and to appeal to patriotism and the Founding Fathers on the right. This was their strategy. They understood how to craft messages that would resonate in American society.
Fast forward to October 8th, when a “toolkit” was distributed to Students for Justice in Palestine (SJP) chapters nationwide. This was merely an extension of their earlier plan. The concept of overwhelming the streets, reminiscent of the Al Aqsa Intifada, or using the red triangle, which Hamas employs to identify IDF soldiers, were among the tactics suggested in this toolkit. Unsurprisingly, we witnessed red triangles being spray-painted on the Benjamin Franklin statue at Penn, and similar symbols associated with Hamas appearing on campuses across America.
SJP claims they are simply a student activist group. However, this is not a coincidence. Their actions are calculated, well-funded, and have been in development for a significant period of time. They’ve been playing the long game.
TISHBY I’ve been trying to make it clear that “We’re involved in a conflict,” but it seems one party is aware of this while the other remains oblivious. However, on October 8th, some of us finally began to see the reality.
To the dangers of terrorism, you mean?
TISHBY: Yes, indeed. However, the term “terrorism” isn’t my favorite. In essence, terrorism serves as a tool. Every parent has instilled fear in their child at some point, and fear is not always negative. What we’re confronting here is jihadism, which represents an ardent desire for Sharia law to be implemented. Consequently, what we are engaged in is a battle against this – a struggle for the preservation of Western values. This aspect needs to be clarified.
“When you use the word ‘explained,’ it brings to mind the Hebrew term ‘Hasbarah,’ which means ‘explanation’ but is also associated with the Israeli practice of using media to make Israeli actions appear more understandable. Some people might perceive this as propaganda. Is that what you consider your film to be, Hasbarah?”
The issue lies in the fact that the word often promotes an emphasis on explaining or justifying, which we should instead aim to re-narrate the tale of the Jewish people and the State of Israel. Today’s youth have been led to believe that Israel represents colonialism and is a country deserving of demolition; that it was born in sin; that it’s the most wicked nation on Earth. However, all these notions are unfounded. Israel isn’t a flawless nation, but it’s far from what they claim. It’s a nation birthed by refugees and serves as the only genuine sanctuary for Jews globally. Consequently, we require a narrative that transcends defensive stances and instead focuses on the significance of Israel and its right to protect itself.
Wendy, was that your aim?
SACHS (PARAPHRASED)In essence, this film aims to educate, particularly young individuals, about Israel and Jewish history, as there’s a significant amount of information they may be missing out on. For instance, my children attended public school in New Jersey, where they received minimal instruction regarding the Holocaust. To address this knowledge gap, I aspire to introduce this film into K-12 schools as part of a comprehensive curriculum. This educational program would cover events like October 7 and the escalation of antisemitism on October 8. It’s crucial to understand that modern-day antisemitism often takes the form of anti-Zionism, which is an irrational, obsessive hatred towards Israel. While it’s acceptable to critique the government or leaders like Bibi, labeling Israel as an illegitimate state is a manifestation of antisemitism.
TISHBY What antisemites have done is turn Israel into the Jew of the world.
How do you mean?
Historically, there has been a belief that eliminating Jews would solve societal problems. This misconception has led to numerous hardships faced by Jews. They are often blamed for any perceived societal ills, being labeled as vermin, bloodthirsty, capitalists, or even Christ killers. While such views are generally unacceptable today, they have been replaced with the notion that eliminating Israel will bring peace. In contemporary society, the worst label one can bear is that of a white supremacist, racist, colonialist, and Israel is often unfairly associated with these characteristics. Despite this, none of these accusations are grounded in reality. In the past, it was the false claims of blood libels. Today, it’s the actions of the Israeli military that are scrutinized. However, this pattern of scapegoating persists.
SACHS One major issue we aim to highlight in our movie is that these criticisms, which are often endorsed by international organizations like Amnesty International and Human Rights Watch, can have a profound impact. While these organizations carry out valuable work elsewhere, their consistent targeting of Israel and labeling it as an outcast nation starts to take hold. This is known as NGO bias, combined with media bias, academic bias, and social-media bias, creates a powerful storm that has been brewing for many years. And we are now seeing the fruits of this storm.
Are there numerous young Jews without religious affiliations who have felt uneasy about Israel’s actions? Would you describe them as proponents of this viewpoint? How do you respond when they assert, “No, we merely hold differing opinions regarding the actions taken by our fellow Jewish people in Israel?”
Have you watched Hannah Gadsby’s Netflix special, “Nanette”? It’s fantastic. There’s a compelling segment about a small town in Tasmania where people had never seen openly gay individuals, so they would say hurtful or ignorant things. Those who identified as LGBTQ+ started to internalize these negative sentiments, feeling shame and guilt, believing perhaps that they were indeed deserving of such treatment. This struck me as strikingly similar to the Jewish community. For centuries, we’ve been labeled as greedy, untrustworthy, and bloodthirsty. Statements like “The IDF is brutal, they’re monstrous, they’re murderers,” repeated so often, can lead us to internalize this hatred. We feel guilt and shame when it comes to Israel. It’s important to remember that Israel is not without fault, but if you lack accurate knowledge about Israel, you may unwittingly adopt this prejudice and channel it through organizations like Jewish Voice for Peace with the statement, “As a Jew, I stand against.” My advice would be to visit Israel, educate yourself on its complexities, and gain a deeper understanding of why there is no Palestinian state as yet.
SACHS Let’s take a look at the critique by the Washington Post on the movie. It’s quite peculiar, as the review states, “This is an excellent film, but it fails to criticize the Israeli government.” In essence, the underlying message seems to be, “A really good movie, but it doesn’t delve into the government’s oppressive actions and their role in the killing of Palestinians.” Over time, the bias in our media has become so deeply ingrained that it has permeated American public opinion. People tend to trust the NY Times and Washington Post because they are reputable newspapers; however, the ideological leanings of journalists and reporters often result in portraying Israel as an “apartheid state” or a “colonialist oppressive regime.” This perspective becomes accepted as truth by many.
Do you believe that bias is baked into Hollywood too? Or just news outlets?
As a gamer, I find myself in a challenging situation with my latest project. The movie seems to be a hard sell as no agents are willing to take it on. Even the International Documentary Association turned a blind eye towards us for our Oscar campaign this fall. I’ve made rounds from NBC to CNN, but everyone seemed uninterested. It’s disheartening to see that not a single distributor is willing to work with me on this film. This feels like some form of bias, and it’s tough to move forward under these circumstances.
Is it a matter of prejudice or simple courage, perhaps an aversion to getting entangled in any politically sensitive issues, particularly those related to the Middle East, that prevents distributors from handling No Other Land?
SACHSIt’s accurate. People expressed, “This is fantastic; thank you for creating such a crucial movie, but we can’t promote it because we can’t monetize it.” So there’s an economic drive behind this. “We can’t offer it to Netflix, Amazon, or Hulu because no one would touch a film like this.” However, I firmly believe that we’re not taking a political stance. We’re chronicling a situation: how did it come about that Hamas is being hailed, not as terrorists but as freedom fighters in American streets? It’s not about Israel. It’s about the conflict between Islamic extremism and democracy. This is why I believe everyone should learn about the story we are sharing.
Concerning Hollywood’s hesitance, I was thinking about bringing up the topic of the film “A Real Pain,” which deals with the Holocaust. You seem a bit uneasy, Sachs. If you prefer, we could discuss this off the record. However, during this awards season, Kieran Culkin has been generating buzz for his role in this movie.
SACHS I’ll stick with my statement. Kieran never brought up the Holocaust in any of his speeches, not even once. This really infuriated me. Additionally, it’s troubling that Jesse Eisenberg, for a long time, referred to this film as a “WWII film.” He never acknowledged Jews or the Holocaust.
TISHBY There’s a book called “An Empire of Their Own: How Jews Invented Hollywood” by Neal Gabler. This book reveals how, when we were creating Hollywood, our own stories were often overlooked. The Jewish community has played a significant role in the development of Hollywood – even the concept of setting up rooms with chairs and showing motion pictures is an idea that originated from early Jews in Hollywood. However, as we were pioneering Hollywood, we neglected to tell our own story. We chose not to take our rightful place at the table. I believe this hesitation stemmed from a deep-rooted fear, passed down through generations, of being persecuted. For centuries, we were afraid of being targeted. So, we decided to remain inconspicuous. “We’re not going to make a fuss,” we said. “We’re not going to take that seat at the table even when we invented the table.” I sense that there’s a shift within the Hollywood community now, where we are becoming more willing to claim our place. It’s a gradual process, but we are learning to take our seats.
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2025-03-19 13:26