Israeli culture minister, Miki Zohar (Photo via social media)
In a controversial move that has sparked widespread debate, Israeli Culture Minister Miki Zohar, a prominent member of Prime Minister Benjamin Netanyahu’s right-wing Likud party, announced the suspension of funding for the Israeli Film Academy and its prestigious Ophir Awards, often referred to as the “Israeli Oscars.” The decision, publicized through a statement on the social media platform X, comes in response to the academy’s decision to award the 2025 Best Feature Film prize to The Sea, a movie centered on a 12-year-old Palestinian boy’s dream of seeing the ocean. Zohar’s actions have ignited discussions about artistic freedom, government intervention in cultural institutions, and the broader Israeli-Palestinian conflict, with implications for the global perception of Israeli cinema.
The Controversial Film: The Sea
At the heart of the controversy is The Sea, a film directed and written by Shai Carmeli Pollak and produced by Baher Agbariya. The movie tells the poignant story of a young boy from Ramallah, a city in the occupied West Bank, who embarks on a journey to reach the coastal city of Tel Aviv, located in Israeli-controlled territory. The narrative is a deeply human exploration of a child’s simple yet profound desire to experience the sea, a symbol of freedom and possibility that is often inaccessible to Palestinians living under occupation. The film’s emotional resonance and its focus on universal themes of childhood and aspiration earned it critical acclaim at the Ophir Awards ceremony held in Tel Aviv on Tuesday night.
A still image from the award winning film “The Sea”
The Sea not only won the Best Feature Film award but also secured four additional accolades, underscoring its impact within the Israeli film industry. Among these was the Best Actor award for 13-year-old Muhammad Ghazawi, who made history as the youngest recipient of this prestigious recognition. Khalifa Natour, who portrayed the boy’s father, also received the Best Supporting Actor award. The film’s success at the Ophir Awards has positioned it as Israel’s official entry for the International Feature Film category at the 2026 Academy Awards, a decision that has further amplified the controversy surrounding Zohar’s funding cuts.
Zohar’s Reaction and Rationale
Minister Zohar’s decision to withhold funding from the Israeli Film Academy and the Ophir Awards stems from his belief that The Sea promotes a “pro-Palestinian” narrative and portrays Israeli soldiers in an unfavorable light. In his statement on X, Zohar expressed outrage, declaring, “On my watch, the citizens of Israel will not pay out of their pockets for a disgraceful ceremony that spits on Israeli soldiers.” He further argued that Israeli taxpayers’ money should be allocated to “more important and valuable places” rather than supporting an event he perceives as undermining the nation’s military and values.
Zohar doubled down on his criticism later that day, taking another swipe at the Ophir Awards. He accused the ceremony of promoting “foreign, disconnected narratives against Israel and Israeli soldiers,” framing the academy’s decision to honor The Sea as an act of disloyalty to the state. His rhetoric reflects a broader trend among some right-wing Israeli politicians who view cultural expressions that humanize Palestinians or critique Israeli policies as threats to national unity.
The Ophir Awards Ceremony: A Platform for Advocacy
The Ophir Awards ceremony itself became a stage for political expression, with numerous filmmakers and nominees using their platform to call for an end to the ongoing Israeli military operations in Gaza. According to reports, at least 65,141 Palestinians, predominantly women and children, have been killed since the escalation of violence on October 7, 2023. Several attendees denounced what they described as the “barbaric” actions of the Israeli regime in the occupied territories, amplifying the political undertones of the event.
Producer Baher Agbariya, speaking at the ceremony, emphasized the universal message of The Sea, stating, “This film is about every child’s right to live in peace, a basic right we will not give up on.” He went further, asserting that “peace and equality are not an illusion, but a possible choice here and now.” These remarks underscore the film’s intent to bridge divides through storytelling, focusing on shared human experiences rather than political divisions.
Academy chairman Assaf Amir echoed this sentiment, describing The Sea as a “sensitive film about human beings in general, and about its protagonist in particular – a Palestinian child whose only wish is to reach the sea.” Amir’s comments highlight the film’s focus on individual aspirations rather than a direct critique of Israeli policy, challenging Zohar’s characterization of the movie as anti-Israeli.
Legal and Ethical Concerns
Zohar’s decision to cut funding has raised significant legal and ethical questions about the role of government in cultural institutions. Legal professionals have been quick to challenge the minister’s authority to withhold funds from the academy. Lawyer Oded Feller, a prominent voice in the debate, described Zohar’s threats as “baseless” and argued that the minister lacks the legal power to interfere with the academy’s budget. “The ministry’s budget does not belong to his mother, and he is not empowered to interfere with cultural content or the professional judgment of those who select the films,” Feller stated, emphasizing the importance of artistic independence.
Feller’s critique points to a broader issue: the potential misuse of governmental authority to suppress creative expression. The Israeli Film Academy, like many cultural institutions worldwide, operates with a degree of autonomy to ensure that artistic decisions are made based on merit rather than political alignment. Zohar’s actions threaten this independence, raising concerns about censorship and the politicization of cultural funding.
Historical Context: The Case of No Other Land
This is not the first time Israeli authorities have reacted strongly to cinematic works that address the Palestinian experience. In 2024, the joint Israeli-Palestinian documentary No Other Land won the Oscar for Best Documentary Feature, drawing similar ire from Zohar and other officials. The film, which examines Palestinian activists’ efforts to prevent the Israeli military from demolishing their community in the village of Masafer Yatta in the occupied West Bank, was labeled by Zohar as “sabotage” against Tel Aviv. He called the Oscar win “a regrettable moment for the cinematic world,” reflecting a pattern of resistance to films that challenge the official Israeli narrative.
The backlash against No Other Land and now The Sea highlights a recurring tension within Israel’s cultural landscape. Filmmakers who explore the complexities of the Israeli-Palestinian conflict often face accusations of disloyalty or anti-Israeli sentiment, even when their work is recognized internationally for its artistic merit. This tension is further complicated by Israel’s submission of such films to prestigious international competitions like the Academy Awards, where they represent the nation despite domestic controversies.
The Broader Implications
Zohar’s funding cuts have far-reaching implications for the Israeli film industry and the country’s cultural reputation on the global stage. The Ophir Awards, as the pinnacle of Israeli cinematic achievement, play a critical role in promoting the nation’s filmmakers and fostering creative excellence. By targeting the academy’s funding, Zohar risks stifling an industry that has gained international acclaim for its nuanced storytelling and artistic innovation.
Moreover, the decision could have a chilling effect on filmmakers who wish to explore sensitive or controversial topics. The Israeli-Palestinian conflict, with its deep historical and emotional complexities, has long been a subject of cinematic exploration. Films like The Sea and No Other Land contribute to a global dialogue about human rights, coexistence, and the impact of conflict on ordinary lives. By punishing the academy for recognizing such works, Zohar sends a message that certain narratives are unwelcome, potentially discouraging filmmakers from tackling these issues in the future.
The controversy also raises questions about the role of art in society. Should cultural institutions be subject to government oversight based on political content? Can a film that humanizes a Palestinian child be seen as a threat to national identity? These questions strike at the heart of the debate over artistic freedom and the responsibilities of cultural institutions in politically charged environments.
International Reactions and the Oscars
The selection of The Sea as Israel’s entry for the International Feature Film category at the 2026 Oscars places the film—and the controversy surrounding it—on a global stage. The Academy Awards have long been a platform for films that address social and political issues, and The Sea is likely to resonate with international audiences due to its universal themes and timely subject matter. However, Zohar’s funding cuts could complicate the film’s journey, as reduced support for the Israeli Film Academy may limit its ability to promote The Sea effectively during the awards season.
The international community has already begun to weigh in on the controversy. Filmmakers, cultural organizations, and human rights advocates have expressed concern over Zohar’s actions, viewing them as an attempt to censor artistic expression. Some have called for international support for the Israeli Film Academy, arguing that cultural institutions should be protected from political interference. Others have praised The Sea for its courage in addressing the Palestinian experience, a perspective that is often marginalized in mainstream Israeli discourse.
The Human Element: A Child’s Dream
At its core, The Sea is a story about a child’s dream—a narrative that transcends political boundaries. The film’s protagonist, a 12-year-old boy from Ramallah, represents the universal desire for freedom, exploration, and the simple joys of childhood. By focusing on this human element, the film challenges viewers to look beyond the geopolitics of the Israeli-Palestinian conflict and consider the shared humanity of those affected by it.
The performances of Muhammad Ghazawi and Khalifa Natour have been widely praised for their authenticity and emotional depth. Ghazawi’s historic win as the youngest Best Actor recipient at the Ophir Awards underscores the power of his portrayal, while Natour’s supporting role adds nuance to the story of a family navigating the challenges of life under occupation. These performances, combined with Shai Carmeli Pollak’s sensitive direction, have made The Sea a standout in Israeli cinema.
Moving Forward: The Future of Israeli Cinema
As the controversy over The Sea unfolds, the Israeli Film Academy faces a critical moment. The academy must navigate the tension between artistic freedom and political pressure, all while continuing to support filmmakers who push boundaries and tell meaningful stories. The outcome of this conflict could shape the future of Israeli cinema, determining whether it remains a vibrant space for diverse voices or becomes constrained by governmental oversight.
For now, The Sea stands as a testament to the power of storytelling. Its recognition at the Ophir Awards and its upcoming journey to the Oscars highlight the enduring relevance of cinema as a medium for empathy and understanding. While Minister Zohar’s funding cuts have cast a shadow over the Israeli film industry, they have also sparked a broader conversation about the role of art in society—a conversation that is likely to continue in Israel and beyond.
