You know that feeling when your whole body tingles, from head to toe, as you listen to music that pierces straight through to your soul and fills every part of you? When you lose yourself in an alternate reality, in mere seconds? The moment when the theater walls and scattered popcorn from the previous showing fade away, and suddenly you're transported to a completely different world, far, far from our own? The kind of feeling that, when absent, leaves you walking out of the movie muttering, "Oh... the movie was...ok."

Wait, I haven't made my point just yet. I didn't gather here today to write about the unique magic of theater or cinema. At least, not just about that, but also about the greater implications of this experience, which is known for its addictive nature.

Social media is gushing with content expressing how thoroughly the world has fallen under the "Wicked" spell – from viral videos to endless memes, viewers share their inability to escape the soundtrack's grasp since leaving the theater. Unlike most film adaptations of musicals, which typically face harsh criticism, "Wicked" has audiences returning for second, third, and fourth viewings – a phenomenon we've seen with other blockbusters, but rarely with such persistence and enthusiasm.

Is it the musical's iconic Broadway status and its devoted fan base? Maybe. Is it the plot, which draws from the timeless classic "The Wizard of Oz"? That could definitely be it. Or is it Stephen Schwartz's brilliant soundtrack, Cynthia Erivo's moving performance, Ariana Grande's comedic turn, or perhaps the heartthrob Jonathan Bailey? Absolutely. Those are more than enough to get one hooked, but I believe there is more to it than merely that.

The enchanted realm of Oz, the legendary songs that have transcended the stage and resonate even with those who've never seen the original production, and the deeply relatable main characters create a universal language. Though set in a distant, fictional world, the story touches on experiences that echo within us all, creating a rare common ground in a year marked by global division and conflict.

True, most of us won't be literally "Defying Gravity" like Elphaba, but metaphorically we all sure would have wanted to. After all, what makes a production truly great is how it makes you feel, and "Wicked" delivers this in spades. Whether through joy, awe, or pure exhilaration (see what I did there?), the film has hooked viewers with its promise of revisiting these feelings – serving as a perfect balm for life's various voids. Be it the simple fantasy of finding our own dreamy Fiyero, a profound need for a brief respite from the weight of daily struggles and personal battles, or in my case – the harsh reality of war.

Yet the movie proved to be more than a form of magnificent escapism, and what truly elevated it to its hit status is how seamlessly its plot intertwines with our reality. Elphaba's courage in standing up against Madame Moribble (Michelle Yeoh) and the Wizard's (Jeff Goldblum) propaganda – which enables their oppression of Oz's animals – has inspired many, particularly through its portrayal of how public opinion can be manipulated to cast those who fight injustice as villains, just as Elphaba, though the true protagonist, becomes branded as the antagonist. However, this parallel has quickly led many on social media to crown Elphaba's character as a "freedom fighter," ironically remaining notably selective in their villain interpretation when it comes to the Israel-Hamas conflict.

Before the inevitable "not everything has to be political" chorus chimes in – a sentiment I typically embrace – it's impossible to ignore the political nature of this story, which has been present since "The Wizard of Oz," and practically screams from the plot itself: "Back where I come from, the best way to bring folks together, is to give them a really good enemy," to quote the Wonderful Wizard of Oz.

As part one climaxes with Elphaba's empowering war cry, we're left with a choice: Will we embody her courage, or are most of us really more like conformist Glinda? And if we see ourselves as exceptional as the Wicked Witch of the West we should consider her own moment of doubt in part two (spoiler alert!) when she questions whether she's "really seeking good, or just seeking attention?", before rushing to join any cause without truly understanding what we're fighting for or against.

As this spectacular adaptation leaves its imprint on our minds and hearts, if there's one thing to take away from it – beyond all its musical and visual splendor – it's this: don't let ourselves become blinded by hatred like the people of Oz.

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"Jojo Rabbit" tells the story of a boy in the Hitler Youth army who discovers that his mother is hiding a Jewish girl in their house and things get complicated as the boy's imaginary friend is Hitler himself. Waititi plays the imaginary Hitler in the movie, which stars Scarlett Johansson, Sam Rockwell, and Rebel Wilson, among others. Wearing a Hitler costume was jarring, but Waititi said he eventually "came to the conclusion that it's not Hitler.

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"This character is conjured from the mind of a 10-year-old. So, he is a 10-year-old in a grown-up's body, and also one way of me like I think disempowering Hitler, was by taking over his body and putting those clothes on and taking his mustache and his haircut ... I enjoyed that the most really was like being able to ridicule him from within his clothes, I guess."

The root of the film began with the novel "Caging Skies" by Christine Leunens. While the book is more dramatic, Waititi decided to use that as a base while adding comedic elements.

Waititi remembers Johansson, who plays the young Nazi boy's mother, rolling her eyes at his costume. But what concerned Waititi was the emotional reaction of his young star, Roman Griffin Davis.

The movie is being released on Friday in theaters across the United States.

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Israel's Foreign Ministry on Sunday said Bin-Noun would not attend the festival's opening night event next month, when Samuel Maoz's critically acclaimed "Foxtrot" is being screened. It said the ambassador had urged organizers to choose a film that "is not controversial and suits a festive opening night," which "Jewish donors" are expected to attend. It said festival organizers declined Bin-Noun's request.

Regev, who is in Paris to attend a judo tournament, instructed her ministry to send a message to Foreign Ministry Director General Yuval Rotem, whose ministry is allocating funds for the festival, that "it is unacceptable" for the policy of the Foreign Ministry's culture department to be "detached from government policy." Regev said she planned to ask Prime Minister Benjamin Netanyahu to direct the Foreign Ministry to not fund the festival.

In a statement, the Foreign Ministry said, "Last December, the embassy recommended to the festival's management, as it has in the past on other occasions, to choose an Israeli film that is not controversial and is suitable for the festive opening night, which includes a Jewish donor audience that has faithfully monitored the festival throughout its existence. The festival's management … chose not to accept the recommendation. Therefore, the Foreign Ministry instructed the embassy not to attend the festival's opening ceremony."

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Signatories including British directors Ken Loach and Mike Leigh, Finnish director Aki Kaurismaki and English-Australian actress Miriam Margolyes on Wednesday expressed "deep concern" over the festival's decision "to associate with the Israeli government as it is intensifying occupation, settlement policy and ethnic cleansing of the Palestinian people."

They urge the festival management to withdraw its partnership with Israeli authorities.

The FIPA festival this week in Biarritz, in southwestern France, aims to give the public the "opportunity to appreciate Israeli content and talent and to increase the sharing of experiences within the domains of writing, digital creation and training. Israel displays a remarkable expertise, a unique model of production, a stimulating artistic approach, and widely exported content," the festival's website said.

"Considered a breeding ground of new talent, Israeli productions are renowned for their creativity, and their film schools for their high level of innovation. Numerous productions have been successfully adapted such as Homeland or In Treatment. This focus on Israel allows for the opening up of new coproduction and collaboration opportunities in a growing marketplace, thanks to the presence of many Israeli institutions, professionals, and educational establishments."

Running since 1987, FIPA is the only international festival that features all creative genres: drama, series, creative or investigative documentary, performing arts and new talent. In previous years the festival focused on Australia, Canada and Spain.

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