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Grégoire Canlorbe

Ukraine

A conversation with Pierre Rehov, for Gatestone Institute

A conversation with Pierre Rehov, for Gatestone Institute

by Grégoire Canlorbe · Mai 1, 2026

Pierre Rehov — Source: Wikimedia Commons

Pierre Rehov is a French–Israeli documentary filmmaker, director, and novelist. He is notably known for his movies about the Arab–Israeli conflict and Israeli–Palestinian conflict, its treatment in the media, and about terrorism.

  Grégoire Canlorbe: Are Iran’s and Hamas’s October 7, 2023 jihadi attacks on Israel responses to what they claim, that Israel is on their land?

  Pierre Rehov: Jews have lived on that land for nearly 4,000 years. Palestinians, by contrast, contrary to myth, actually do not exist. As the late PLO senior official Zoheir Mohsen openly stated in an interview with the Dutch daily Trouw on March 31, 1977: “The Palestinian people does not exist. The creation of a Palestinian state is only a means for continuing our struggle against the state of Israel for our Arab unity. In reality, today there is no difference between Jordanians, Palestinians, Syrians and Lebanese. Only for political and tactical reasons do we speak today about the existence of a Palestinian people, since Arab national interests demand that we posit the existence of a distinct Palestinian people to oppose Zionism.”

  In modern times, the Palestinians are really just assorted Arabs who happened to be in Israel in 1948. They chose to leave after five Arab armies invaded the new nation on the day of its birth, either to avoid being in the middle of a war, or often at the urging of their fellow Arabs, who told them to get out of the way to make it easier to kill the Jews. When these often self-exiled Arabs tried to return to Israel after the Arabs lost the war—an event in Arabic called the nakba, the catastrophe—Israel refused to admit them based on their earlier disloyalty. Arabs who did not leave Israel now make up just over 20% of Israel’s population of nearly 10 million, are called Israeli Arabs, and have equal rights with the Jews, except for not being required to serve in the Israeli army unless they so choose.

  After losing the war, to pressure Israel, Arab countries refused to admit their approximately roughly 700,000 Arab brethren as well, even though Israel, the size of New Jersey, made room for a commensurate number of Jews who had fled Arab countries.

  In short, the Palestinian attacks on Israel on October 7, 2023 were not “in retaliation” for anything. In fact, they had just pledged a ceasefire with Israel, and Israel had recently issued 27,000 new daily work permits to enable Gazans to enter Israel, where they could earn a better wage. October 7 was not a “reaction.” It was just the latest episode in a multi-millenary history of attacks on Jews. It was a declaration of intent, of ideology, and of a civilizational fault line that many in the West have spent decades refusing to see.

  A pogrom or a jihad is not defined by a map; it is defined by a mindset: the idea that Jews may be hunted as such—women, children, the elderly—because their very existence is deemed illegitimate. That is why I titled my 2025 film Pogrom(s). Hamas did not attack military targets to “end an occupation.” It attacked families to affirm an old doctrine: the Jew is not an opponent; the Jew is a problem to be erased.

  If you want to understand October 7, forget the comforting story of “desperation turning violent.” Pogroms are not born from desperation; they are born from permission—social, religious, political permission to commit the unthinkable and feel righteous doing it.

  What happened that day also exposed the West’s moral confusion. Many people looked at videos of barbarity and still rushed to “contextualize,” rationalize, excuse. This reflex is precisely what keeps pogroms returning throughout history: the world’s temptation to treat Jewish blood as a negotiable detail in a political narrative.

  Grégoire Canlorbe: How do you relate the birth and development of the anti-Israel movie industry, especially after the film Exodus portrayed Israelis as heroic?

  Pierre Rehov: It may have started after the alleged death of a young Arab boy, Muhammad al-Durrah, in 2000. Israel was accused of shooting him to death even though in film clips there was no blood to be seen, and after his supposed death, he can be seen lifting a hand to look out from under it. The episode became a turning point. The images, broadcast worldwide, showed a child allegedly shot deliberately by Israeli soldiers. The narrative was immediate, emotional, definitive. Israel was guilty. End of story.

  The case was never as clear as presented. Serious doubts emerged about the staging, the angles of fire, the editing, the absence of forensic transparency. Whether one believes the child was killed in crossfire or not, what mattered is that the footage became a weapon before it became a fact.

  More importantly, it revived something ancient: the blood libel—the accusation that Jews murder children. This medieval myth, responsible for countless pogroms, was simply updated for the satellite era.

  The term “Pallywood“—anti-Israel films, frequently built on falsehoods, and masquerading as pro-Palestinian—is not about denying suffering. It is about exposing the systematic staging, scripting, and amplification of imagery designed to fit a predetermined accusation.

  You could see this machinery yourself in any investigation of the Battle of Jenin in 2002. At the time, international headlines were speaking of a “massacre.” Hundreds killed. Entire neighborhoods razed. The emotional narrative was already fixed.

  There, I encountered individuals presenting themselves as medical authorities and witnesses. One of them, Dr. Abu Raley, claimed that the Israeli army had destroyed a building belonging to his hospital. He described it in dramatic detail. The story was powerful. It was ready for cameras.

  There was only one problem: the building was intact. Standing. Undamaged. The alleged ruin simply did not exist.

  In the Battle of Jenin, there was never any “confusion in the fog of war.” The story that part of a hospital had been destroyed was a total fabrication. It revealed something essential: a good story has priority over reality.

  Anti-Israel films are a method: a communication strategy in which scenes are rehearsed, ambulances are summoned for choreography, children are positioned for optimum publicity, and Western journalists—sometimes naive, sometimes ideologically predisposed—broadcast it without verification.

The genius of the system is psychological. Once the image circulates, correction becomes irrelevant. The emotional verdict has already been delivered.

  In modern warfare, the camera is no longer documenting the battle. It is part of the battlefield. The objective is not only to accuse Israel. It is to morally disarm the West. If you can persuade democratic societies that defending themselves equals murdering children, you have already won half the war.

  Grégoire Canlorbe: Are the Israelis fighting only for themselves? Or are they fighting, besides, for the whole of the Western civilization?

  Pierre Rehov: Israel is fighting—obviously—for its survival, but not only that. Israel is fighting to preserve Western civilization, and at a frontier the West prefers not to name: Islamic extremism and its call for global political control. Hamas, Islamic Jihad, Hezbollah, and the Iranian regime do not hate Israel for what it does. They hate Israel for what it is: an infidel state—and in their midst. If Israel were a Christian state, the same problem would exist. Just look at the genocide in Nigeria—with more than 52,000 Christians killed in just 14 years—in a free society, which is a visible rejection of the Islamic totalitarian dream.

  The Palestinian project is not a “two-state solution” or “a better border.” The project is a world where religious and political absolutism rules, where minorities submit or vanish, where women are controlled, where dissent is crushed. Israel is the laboratory target. If the West rewards October 7 with political gains, it teaches a lesson to every violent movement on earth: massacre pays. So yes—Israel is defending itself, and in doing so, it is also defending the principle that civilization cannot survive if it negotiates with barbarity as if it were a partner who is misunderstood.

  Grégoire Canlorbe: You raised the Nazi and Soviet origins of Islamism—and of the so-called Palestinian cause. How do you retrace those origins?

  Pierre Rehov: Let’s be precise: Political Islam was not “created” by Nazis or Soviets. It has its own religious roots. Modern jihadist politics borrowed heavily from 20th-century totalitarian toolkits—Nazi and Soviet alike: mass indoctrination, the cult of death, scapegoating, manipulating crowds through grievance and myth. Historically, there has also been direct contact and ideological cross-pollination. The Mufti of Jerusalem, Haj Amin al-Husseini, collaborated with Nazi Germany. He met with Hitler in 1941—an emblematic moment showing that radical anti-Jewish mobilization in the region was not only “local,” but plugged into Europe’s genocidal imagination.

  As for the “Palestinian cause” as a modern political brand, the Soviet model of the USSR perfected exporting “liberation” narratives, packaging conflicts into revolutionary frames, and the use of proxy groups for strategic warfare. When Russia’s leaders saw that Israel had no interest in adopting its brand of socialism or communism, it seems to have turned its attention to supporting Israel’s opponents. PLO and Palestinian Authority leader Yasser Arafat first, and later the Palestinian Authority’s current President Mahmoud Abbas—now in the 21st year of his four-year term—were groomed in Moscow by the KGB and its satellites. A lieutenant general in the Socialist Republic of Romania’s Securitate, the secret police, Ion Mihai Pacepa, who defected to the West in 1978, wrote: “In March 1978 I secretly brought Arafat to Bucharest for final instructions on how to behave in Washington. “You simply have to keep on pretending that you’ll break with terrorism and that you’ll recognize Israel—over, and over, and over,” Ceausescu told him for the umpteenth time. Ceauşescu was euphoric over the prospect that both Arafat and he might be able to snag a Nobel Peace Prize with their fake displays of the olive branch.”

  Whether through training, arms flows, or propaganda doctrine, the Cold War era shaped a whole ecosystem in which anti-Western agitation could be sold as virtue. The result is what we see today: a hybrid ideology—religious absolutism wearing the clothes of revolutionary victimhood—distributed to Western audiences through media and academia.

  Grégoire Canlorbe: You studied the esoteric dimension of Nazism. What are your findings on that issue?

  Pierre Rehov: Nazism was not merely political; it aspired to be metaphysical. It tried to replace Judaism and Christianity with a racial religion—an occultized worldview in which blood becomes sacred, cruelty becomes purification, and conquest becomes destiny. The religious flavor of Nazism served two functions: it offered a mythic justification for domination, and it insulated followers from moral reality. When you turn history into myth, you no longer need ethics—you only need obedience to the “mission.”

  While I was writing The Third Testament, a novel published in English, it became clear that Hitler regularly consulted mediums. Even more striking was Heinrich Himmler’s obsession with magic, witches and demons. Recently, his personal library was found in a warehouse near Prague. It contained more than 6,000 esoteric works, including rare volumes on witchcraft. The initiation ritual required to become a member of the SS drew directly from these occult beliefs. Many Nazi symbols—the SS runes, the Nazi salute, the swastika—were rooted in “esoteric” symbolism. This dimension of Nazism is often minimized, yet it reveals that the regime did not see itself merely as a political movement, but as a quasi-religious order claiming spiritual legitimacy for its crimes.

  That is why the Nazi project felt to many like a perverse religion or spiritual movement: it provided meaning, ritual, identity, and a transcendent excuse for the worst crimes.

  Grégoire Canlorbe: How does that esoteric thought that led to Nazism differ from that esoteric thought that can be called Judeo-Christian?[i]

  Pierre Rehov: The difference is enormous, of course. Nazi “religiosity” basically promotes anti-ethics that masquerade as transcendence. It is essentially racial pagan mysticism that glorifies force, status and “purity.” It dissolves the individual into the tribe and turns the “other” into a dangerous contaminant. Judeo-Christian spiritual traditions—even when they explore mysteries, symbols and initiations—remain anchored in the dignity of the individual person, moral responsibility, and the idea that facts are inseparable from conscience. Christian thinkers are usually not about exterminating imperfection; they are about elevating the human being—fallible, free and accountable. In the Nazi vision and in many Middle Eastern interpretations of religion, it exists to justify domination. In the Judeo-Christian vision, religion exists to deepen humility and love.

  Grégoire Canlorbe: From the Évian Accords to the recognition of the Palestinian state, how do you assess the Arab policy of the French Fifth Republic?

  Pierre Rehov: France’s Arab policy under the Fifth Republic has seemed to oscillate between grandeur and blindness. From President Charles de Gaulle onward, there was a strategic aim: to cultivate oil as energy and diplomatic leverage, to secure influence in the Arab world, which during the 1975 “oil crisis” looked as if it had most of the world’s oil, and to position France as a mediator distinct from Washington. Too often, however, this stance became a reflex of moral equivalence—treating democracies and terror movements as two symmetrical parties in a “conflict,” rather than distinguishing defense from aggression.

  The culmination is the contemporary temptation to adopt diplomatic gestures that may flatter French self-image but can also reward intransigence, disinformation and terrorism. France’s announcement that it recognized a non-existent Palestinian state in July 2025 is a prime example: a move presented as “peace” that instead rewards terror and confirms that “terrorism works, so let’s keep on doing it!”—thereby encouraging actors who see concessions as weakness and what they are doing as delivering success. It reinforces the sales pitch that jihad and terrorism are the fastest ways to get what you want. France could have been a voice for realism and the values of civilization. Instead, it keeps choosing the comfort of theatrical posing.

  Grégoire Canlorbe: Trump’s foreign policy is centered on dealmaking and punctual, short-run military intervention. Do you fear that those factors may prevent the USA and Israel from settling, for good, the Hamas or mullahs issue?

  Pierre Rehov: I do not fear “dealmaking” as such. I fear deals that confuse calm with peace. If a deal buys time for the “wrong” side, it is not a deal—it is an extension of the threat. Hamas and the Iranian regime have proven that they interpret restraint as opportunity. So, the question is not whether America prefers short operations or long wars. The question is whether America draws lines that are credible, and whether it enforces them. As for domestic political constraints, every administration has them. The point is that Israel cannot outsource its survival, and the United States cannot pretend that totalitarian jihadism can be “managed” indefinitely. Either you dismantle the infrastructure of terror, or it regrows.

  Yes, Vice President JD Vance represents a strand of American skepticism toward foreign entanglements. That is a legitimate debate. Israel’s enemies, however, are not about “entanglements.” They are imposing a war on civilization.

  Grégoire Canlorbe: If a diplomatic solution were to be found to the Ukrainian issue, would it be beneficial to the West?

  Pierre Rehov: Diplomacy is beneficial only if it restores deterrence. A settlement that rewards aggression teaches the world that borders are temporary and violence is profitable. Such a lesson would not stay in Eastern Europe; it would travel—into the Middle East, into Asia, into every contested frontier. So yes, a diplomatic outcome can be good—if it protects sovereignty, if it prevents repetition, and if it signals strength rather than fatigue. Peace that is built on amnesia is not peace; it is a pause before the next war.

  Grégoire Canlorbe: Thank you for your time. Would you like to add anything else?

  Pierre Rehov: We are living through a war of reality. Weapons kill bodies. Propaganda kills judgment. When judgment collapses, democracies begin to hate themselves, to doubt their right to defend their citizens, and to romanticize forces that would destroy them.

  My work is not about “taking sides” in a political quarrel. It is about refusing the lie—because when the lie wins, the innocent pay, and history repeats its darkest chapters with updated slogans.   The West will not be defeated by lack of power. It will be defeated—if it is defeated—by the refusal to oppose danger when they see it.


[i] Judeo-Christian esotericism encompasses Christian Kabbalah (Pico della Mirandola), the Élus Coëns (Martinez de Pasqually), Christian theosophy (Louis-Claude de Saint-Martin), Christian Masonry (Jean-Baptiste Willermoz), or Orthodox Christian Existentialism (Nikolai Berdyaev).


That conversation was originally published on Gatestone Institute’s website, in March 2026

Filed Under: Uncategorized Tagged With: Donald Trump, Grégoire Canlorbe, Israeli-Palestinian conflict, Judeo-Christian esotericism, Nazism, October 7, Pierre Rehov, Ukraine

A conversation with Igal Hecht, for Gatestone Institute

A conversation with Igal Hecht, for Gatestone Institute

by Grégoire Canlorbe · Mai 5, 2025

In 1999, Igal Hecht created Chutzpa Productions Inc. His award winning films have been described as controversial and thought provoking. His films have dealt with human rights issues to pop culture. Throughout his twenty-year career, Igal Hecht has been involved in the production of over fifty documentary films and over twenty television series. Igal’s films and television series have been screened nationally and internationally on Netflix, Prime, BBC, Documentary Channel, CBC, YES-TV (Canada), HBO Europe and many others.

  Grégoire Canlorbe: The Killing Roads investigate the pogrom perpetrated across the Gaza envelope on October 7, 2023, with special attention paid to the attacks launched on the roads in southern Israel. How did you proceed with gathering, and crafting, the introduced testimonies and audiovisual material?

  Igal Hecht: When October 7th unfolded, I began collecting and archiving every piece of footage that emerged—raw, unfiltered, and often horrifying. As the days passed and the scale of the atrocities became undeniable, I knew I had to make a film. But with so much devastation, I needed to focus on a specific, often overlooked aspect of the attack.

  In November, Haaretz and The New York Times published articles about the massacres on the roads. That became my focal point. I began researching, speaking to survivors, and quickly realized that aside from Israeli TV, no one was truly exposing what happened, particularly on Route 232 and Route 34. On those roads alone, Palestinian terrorists, Hamas, Islamic Jihad, and civilians from Gaza (as if there’s any real distinction between them) murdered around 250 innocent people.

  A few months in, I started reaching out to survivors, and with my trusted collaborator, Lior Cohen, who I’ve made over 25 films with, we set off to Israel. In early 2024, I spent a month filming in and around Route 232, Route 34, Sderot, the Nova festival grounds, kibbutzim, and cities like Sderot and Ofakim. We conducted over 20 interviews and shot nearly 40 hours of footage. Ultimately, we focused on seven stories. They were each distinct, each offering a different angle of the carnage that unfolded on those roads.

  The visual evidence was crucial. We incorporated footage from survivors, Hamas propaganda videos, security footage, and, thanks to Hatzalah, we obtained 50 hours of raw material from ambulance teams. These first responders documented everything. Every horror, every burned-out car, every bullet-ridden body, from the moment the attack began.

  This wasn’t just a massacre; it was a Nazi-style atrocity committed by Palestinian terrorists. The Killing Roads doesn’t rely on rhetoric, rather, it presents the truth, unfiltered and undeniable. The horror is laid bare, and it must be seen to ensure that no one can ever deny or rewrite what happened.

  On October 7th, Palestinian terrorists and civilians from Gaza committed a mini-Shoah against Jews in Israel. They didn’t just murder—they raped, burned, and mutilated women, children, and men because they were Jewish. And if that wasn’t enough, their woke progressive and Islamist sympathizers in Europe, the U.S., Canada, and Australia celebrated the bloodshed. That is the grotesque reality Jews around the world are facing today.

  Grégoire Canlorbe: Genocide is a reality you had already covered—through documentaries on the Holocaust, as well as on Rwandan, Bangladeshi, Cambodian, and Yezidi genocides. How did it feel, this time?

  Igal Hecht: This time, it was personal. My family lives in that region. I had family members in Sderot fighting off terrorists. I lost brave colleagues. The victims weren’t nameless figures from history books; they were my people.

  And what made it worse was the reaction in Canada. People I thought were friends, colleagues I had worked with, openly supported or excused the butchery. October 7th stripped away the masks. It revealed a deep-seated antisemitism that had always been there, lurking just beneath the surface.

  For me, making this film wasn’t just about documenting history, rather it was a mission. It was my way of saying fuck you to every person who tried to justify, minimize, or celebrate this slaughter. That’s why I made The Killing Roads freely available online. Unlike many filmmakers who compromise to appease broadcasters—who bend to absurd rules like not calling Hamas “terrorists”—I refused to sanitize the truth.

  This film doesn’t offer excuses or euphemisms. It shows, in brutal clarity, what Israelis endured that day. And it does so without concern for political correctness or the fragile sensibilities of those who sympathize with murderers.

  Grégoire Canlorbe: In Canada, what is the average perception of Israel, the Hamas (and similar organizations like the Popular Front for the Liberation of Palestine), and Donald Trump’s Middle-East policy?

  Igal Hecht: Under Justin Trudeau, Canada has become the leading hub for Islamist terrorism support in North America. That’s not hyperbole. This is a fact.

  The very day of the October 7th massacre, Muslim activists and their woke, antisemitic allies flooded the streets of Toronto and Montreal, chanting in Arabic for the extermination of Jews. I filmed it. I published it. Nothing happened. Apparently, Canadian police can’t find a single Arabic translator.

  From the start, the Trudeau government’s priority wasn’t justice—it was appeasement. Canada, like the UK and much of Europe, has chosen to bend the knee to Islamic fundamentalism.

  The average Canadian gets their information from a publicly funded broadcaster that pumps out anti-Israel propaganda daily, much like the BBC. These journalists take Hamas press releases as gospel and only issue weak retractions after the damage is done. We’ve seen it repeatedly, from The New York Times parroting Hamas casualty figures to the BBC recently producing outright propaganda films.

  And the result? A 630% rise in antisemitic attacks in Canada. Synagogues vandalized. Jews beaten in the streets. Jewish students in Toronto, Montreal, and Vancouver physically blocked from attending school—just like in Nazi Germany. Yet, the media downplays it, and politicians look the other way.

  If this unchecked immigration and tolerance for Islamist extremism continue, Canada will follow the path of the UK, France, and the Netherlands. In 10 to 15 years, we’ll see the same no-go zones, the same normalization of antisemitism, and the same erosion of Western values. That’s the trajectory unless people wake up.

  Grégoire Canlorbe: Do you see some impact of the Abraham Accords with respect to the partnership between Israeli filmmaking and the movie industry in Saudi Arabia, Morocco, and other Sunni states?

  Igal Hecht: To be honest, I don’t know. It’s not my world.

  What I do know is that the Abraham Accords were a game-changer, and President Trump deserves a Nobel Peace Prize for them. Of course, he won’t get one—Obama got his for good intentions, while Trump actually delivered peace. That tells you everything.

  The Sunni states are waking up to a simple truth: the main obstacle to peace isn’t Israel. Rather, it’s the so-called Palestinians and their genocidal fantasies. Remove that factor from the equation, and Israel and the Arab world can thrive together.

  The Palestinian issue has been the Middle East’s perpetual cancer. More Arab leaders are starting to see that. Hopefully, the rest of the world will, too.

  Grégoire Canlorbe: You wrote, produced, and shot Streets of Jerusalem and several other documentaries set in the holy town. How do you sum up the sort of cinematographic aesthetics the light and architecture in Jerusalem allow for?

  Igal Hecht: Jerusalem is visually unparalleled. It’s not just a setting, it’s a character.  I’ve filmed there for 25 years, and there isn’t a corner of the city my team and I haven’t explored. The aesthetic contrast is breathtaking. The ancient architecture interwoven with the modern, the energy of the people, the ever-present layers of history. You can set up a camera in the Old City or Mahane Yehuda market and capture something cinematic without even trying. Every frame tells a story. It’s why I keep going back and hopefully will again for my next project with Lior Cohen.

  Grégoire Canlorbe: Please tell us about Easter in the Holy Land, which covers Christian pilgrimages in the Land of Israel in the Easter season. When it comes to conveying mystical experience, is movie as eloquent a medium as are literature and painting?

  Igal Hecht: Easter in the Holy Land is a feature-length documentary (or a three-part series) that I’m incredibly proud of. I had the privilege of working alongside cinematographers Lior Cohen and Gabriel Volcovich, as well as filming myself. Every frame is meticulously crafted—each shot looks like a painting.

  We filmed across some of the most sacred Christian sites, Bethlehem, Nazareth, the shores of the Sea of Galilee, and, of course, Jerusalem, particularly the Old City. The film is a visual and spiritual celebration of Easter, offering audiences an intimate view of the deep significance of this holy season in the very land where it all began. More than that, it highlights a truth that is often ignored or distorted: Christian pilgrims in Israel experience absolute religious freedom.

  Despite the lies spread by far-right Christian antisemites and Arab nationalist propagandists, Israel is the only country in the Middle East where Christians can freely and safely celebrate their faith. In contrast, throughout the surrounding region, Lebanon, Egypt, Jordan, Iraq, and the Palestinian Authority-controlled areas, Christians face persecution, intimidation, and even violence. Yes, there have been isolated incidents in Israel, and they are regrettable. But unlike in many other places, here, those who commit crimes against Christians are arrested and held accountable.

  Ultimately, Easter and Christmas in Israel serve as testaments to the reality that Christian minorities here can observe their holiest days without fear. This is something that is virtually impossible anywhere else in the Middle East.

  Grégoire Canlorbe: Do you plan to direct an equivalent documentary on Jewish and Muslim pilgrimages in the Holy Land?

  Igal Hecht: I haven’t given that much thought, but it would be fascinating to create a trilogy covering all three Abrahamic faiths. The challenge, as always, is funding and securing a broadcaster willing to take it on.  People don’t realize how difficult it is to produce content that explores faith and religion, especially for mainstream television. It’s not impossible, but there’s a definite bias against it. I’ve been fortunate to work with broadcasters who see the value in faith-based programming, but they are few and far between. The reality is that many networks shy away from religious content unless it fits a specific agenda.

  Grégoire Canlorbe: What is your view about the filmic treatment of Jerusalem in the time of the crusades? How do you assess, in particular, Ridley Scott’s Kingdom of Heaven?

  Igal Hecht: Aesthetically, Kingdom of Heaven is a stunning film. This is exactly what you’d expect from a director like Ridley Scott, with his massive budget and extraordinary craftsmanship. Beyond that? It’s all subjective. The film, like most historical dramas, takes artistic liberties. But that’s the nature of cinema… especially when dealing with a time period as complex and politically charged as the Crusades.

  Grégoire Canlorbe: In another recent documentary, The Jewish Shadow, you address the condition of Ukrainian Jews in the 1970s, under soviet rule. What did you choose to highlight about their condition—and how it has been evolving after the Soviet Union’s fall?

  Igal Hecht: The Jewish Shadow is an incredibly personal film. It was shot long before the war in Ukraine, and it focuses on the life my parents lived under Soviet rule.  To be honest, I have mixed feelings about it. This is not because it isn’t a good film, but because of how I approached it. I told my parents we were making a family roots documentary, but in reality, I pushed them to confront the antisemitism they endured. In the end, I apologized to them for putting them through that.

  Ukraine has a dark and undeniable history of antisemitism. One that still lingers in certain parts of the country today. But when the war broke out, it complicated everything. I had to grapple with the realization that my view of Ukraine is shaped by generations of Jewish persecution, whereas my parents, despite everything they went through, still have a deep attachment to the place. They lived there. They had friends, careers, and a sense of home… even if antisemitism was a constant shadow over their existence.

  That, in many ways, encapsulates Jewish life in the Diaspora. We integrate, contribute, and flourish; until history repeats itself. Until the inevitable moment when we are reminded that, no matter how much we belong, we will always be seen as different. And because of that so-called difference in the minds of antisemites, the hatred against us is justified. Or, as we are seeing now in places like Canada and many parts of Europe even celebrated and encouraged.

  Grégoire Canlorbe: Thank you for your time. Is there anything you would add?

  Igal Hecht: You can watch The Killing Roads at www.thekillingroads.com or catch it on the Documentary Channel at www.documentarychannel.com.   For additional information about Igal Hecht and his films, visit www.chutzpaproductions.com


That conversation was originally published on Gatestone Institute, in March 2025

Filed Under: Uncategorized Tagged With: 7 September attack, Canadia, Donald Trump, Easter in the Holy Land, genocide, Grégoire Canlorbe, Igal Hecht, Israeli-Palestinian conflict, Kingdom of Heaven, Ridley Scott, The Abraham Accords, The Jewish Shadow, The Killing Roads, Ukraine

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