"My great fortune is that I really love what I do. I'm in love with my work. I'm obsessive about each and every one of the projects I participate in. I want to participate in telling their stories, that's what excites me, and the truth is I function much better when I'm under pressure. I'm at a different level when I have tons of things to do, than when I'm sitting at home twiddling my thumbs waiting for something to happen. When you do what you love, it's easier to deal with everything around you."

"In terms of research, I watched all of Christy's fights and all the documentaries made about her and had long conversations with her. Physically, I trained for three months. I had a dedicated boxing coach and a dedicated weights coach. I gained 15 kilos of muscle. I let myself get lost in the process. I went back home to Idaho. I live near my grandmother, so I turned her garage into a Rocky-style gym. I hung punching bags there. All day, I lifted weights and boxed. I drank tons and tons of protein shakes."

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"I was in shock," she said. "Of course, anyone who followed developments in the progressive left and the Democratic Party in recent years, as I did, could see the writing on the wall. Anti-Israeli sentiment and antisemitism had been bubbling beneath the surface for a long time, and suddenly everything burst out like a tsunami.

"However, the silence on October 8 was deafening. On a personal level, I simply felt abandoned by my friends, by my professional groups. Very impressive and educated women, who immediately jump to defend all the world's injustices, suddenly became hostile. When over 30 Harvard student groups issued that statement blaming Israel for the massacre, just one day after the massacre, I immediately understood that the pro-Palestinians had taken control of the narrative and that the messages being conveyed in universities are actually Hamas messages. Within less than two weeks, it was already clear to me that I was going to make a film about this."

"October 8", the documentary Sachs directed to try to reclaim control of the narrative, will be screened Sunday at the Jerusalem Film Festival, and she will also hold a Q&A session with the audience afterward. According to her, the film seeks to explain "how we got to where we got," and it's intended for an international and not necessarily Jewish audience. But from watching it, it's hard not to feel that Sachs also created it for her brothers and sisters in the United States, and that it documents in real time a process of awakening.

"In the past year, I've been screening the film around the world to non-Jewish audiences," Sachs said. "People cry and react to it very emotionally, because they see phenomena similar to those happening on American campuses also happening where they are – in places like Amsterdam, Sydney, Mexico City, and more. It was important for me to show that the issue is much bigger than what's happening in Israel, and it was important for me to show that after October 7, there's no longer any difference between anti-Zionism and antisemitism.

"Within that, the film is definitely also dedicated to all my Jewish friends who didn't believe that all this was really happening, who lived in their bubble and didn't understand that there's so much antisemitism in America. This film provides them with the feeling that they're seen and understood, and also provides them with tools to cope and respond. On October 8, American Jewry woke up. I saw it happen with my own eyes."

Q: Your response to the events of October 7 was to make this film and fight back. But most famous Jews in the United States didn't feel like you did. Almost no one raised their voice. Actor Michael Rapaport, who is interviewed in your film, refers to this and says that if he's the biggest celebrity you managed to bring, then the situation is probably really bad.

"Very true,"  she laughed. "We discovered that Hollywood has no spine; we saw that people have no courage. So many famous Jews: Producers, directors, writers, actors, comedians. People who built their careers by telling Jewish stories. My acquaintances, my friends – suddenly they're silent."

Q: Did you find yourself confronting them? Or can you understand where this comes from?

"There were confrontations, but it's a very complex issue. I saw how people were canceled as a result of their support for Israel, I saw how careers were damaged. Even actress Debra Messing's manager, who participated in producing my film, told her she was harming her career. But I'm not famous. I won't say I have nothing to lose, but my calculation is different. I was so determined to make this film and get it out before the first anniversary of the massacre. I developed an obsession with telling this story, and I felt I had to tell it properly, because I knew they would put the film under a microscope. This became the project of my life."

Q: Do you think your film can change someone's mind? Do you think there's anyone to talk to at all? Is someone interested in listening?

"That's a good question. I believe that films like 'October 8' can definitely influence the conversation and public opinion, and they can also educate. From what I see from people's reactions who watch it, it does succeed in creating change."

Q: Predictably, your film is being attacked online constantly. Pro-Palestinian users are systematically writing bad reviews about it on sites like Letterboxd and IMDB to lower its rating, and professional critics in the United States have also brutally slammed it while often exposing their ignorance and biased opinions on the Israeli-Palestinian conflict. How do you respond to people who strongly claim that "October 8" is one-sided pro-Israeli propaganda?

"Did 'No Other Land,' the documentary that won the Oscar this year, tell the other side of the story? No. Was it criticized for being one-sided? No. Only when you make a film with a sympathetic viewpoint toward Israelis and Jews do these accusations come. The film doesn't try to justify the war in Gaza or defend it. My film isn't about the war at all. Of course, what's happening in Gaza is terrible and awful, and of course, the images coming out of there are horrifying, but I called the film 'October 8' on purpose. Because even before Israel responded to the massacre, even before it all started, many good people in America portrayed the Hamas terrorists as freedom fighters and heroes. That's what the film is about."

Q: How do you see the coming years? How pessimistic are you? Have you thought about leaving the United States?

"I end the film on an optimistic note because that's my nature. I think the only positive thing that came out of the terrible disaster of October 7 is that the Jewish community in the United States finally united and woke up. I see young people who are discovering courage and raising their voices. This inspires other young people, and that gives me hope for the future.

"Regarding leaving the United States, the thought has certainly crossed my mind. It's very comforting for me to know that Israel is there for me and my family; it's not a bad option because where else do we have to go? I think that's why so many Jews in the diaspora fight so hard for Israel. It's our homeland."

"October 8" will be screened Sunday at Jerusalem Cinematheque at 2:30 p.m. in the presence of director Wendy Sachs. At 4:30 p.m., there will be a meeting with Sachs at the Jerusalem Cinematheque's mediatheque. The event will be held in English, and admission is open to the public and free of charge.

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In what marks another setback for Marvel Studios' struggling cinematic universe, "Captain America: Brave New World" delivers a lackluster entry that fails to recapture the magic of earlier films, finding its sole bright spot in the commanding presence of Israeli actress Shira Haas.

While "Brave New World" may not be quite as dismal and lifeless as "The Marvels," there's nothing remotely "brave" or "new" about it. Its yawn-inducing dilemmas merely recycle issues already addressed in the Falcon streaming series (and in "Captain America: The Winter Soldier"), its scale feels entirely televisual, its humor never lands, and it lacks any semblance of drive, imagination, or charisma.

The numerous script and production changes made during and after filming are palpably evident. At times, different sections of "Brave New World" appear held together with scotch tape, its political elements have been sanitized and stripped of any potentially controversial content (becoming excessively conciliatory and pandering), and its sole major reveal – meant to shock audiences in the third act – has already been thoroughly exposed in every trailer and promotional poster (seemingly highlighting Marvel's lack of confidence in their own product).

Has Marvel forgotten how to make good films? Is the MCU's story finished? Unfortunately, based on this latest chapter in the saga, which aims to launch a new storyline continuing into future films, the answer leans more toward "yes" than "no." "Brave New World" fails both as a standalone film and as groundwork for what's to come, with none of the light, charming magic that once characterized Marvel's work.

At its core, this is a paranoia thriller echoing "The Winter Soldier." However, the execution falls short across all departments and feels like a significant downgrade compared to previous Captain America films.

Sam Wilson (Anthony Mackie), having inherited the mantle of Captain America, grapples with both the symbolic weight of the shield and the practical challenges of national security in a post-Blip world. The narrative centers on a conspiracy reaching into the highest levels of government, with President-elect Thaddeus Ross (Harrison Ford) requesting Wilson's help in reassembling the Avengers amid growing global tensions.

Moments later, Wilson's old friend Isaiah (unfamiliar to viewers who haven't watched "The Falcon and the Winter Soldier") attempts to assassinate the president, though he appears to be controlled remotely by an unseen force in a scenario reminiscent of "The Manchurian Candidate."

This sets Wilson and his dry-witted sidekick Joaquin (Danny Ramirez) on an investigation to uncover who's targeting the president and who framed Isaiah. Meanwhile, Ruth Bat-Seraph (Shira Haas), a secret agent with Israeli roots, conducts her own parallel investigation. Predictably, these two investigative threads soon intersect, leading to broader revelations about the conspiracy at hand.

Director Julius Onah struggles to maintain coherence across the film's disparate elements, resulting in a product that often feels more like an extended television episode than a theatrical release. The action sequences, while competently staged, fail to achieve the kinetic energy and visual innovation that Marvel fans have come to expect.

The true revelation comes in the form of Shira Haas as Ruth Bat-Seraph (whose casting, notably, sparked protests from pro-Palestinian and anti-Israel audiences), whose limited screen time provides the film's most compelling moments. Haas brings a fierce intensity and magnetic presence to her role, elevating every scene she appears in. Her performance is particularly notable in her scenes with Harrison Ford and Anthony Mackie, where she demonstrates remarkable screen presence, holding her own against these established Hollywood stars.

Though Haas appears on screen for only a few cumulative minutes, her scenes represent the finest moments in "Brave New World." One can only hope she'll be cast in the next film as well. Haters can hate.

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Over two years after being cast as an Israeli superhero in "Captain America: Brave New World," Shira Haas ("Unorthodox") has officially broken her silence about her groundbreaking entry into the Marvel Cinematic Universe.

"I want to say it's like a dream come true, but it's even bigger than that," the 29-year-old Emmy and Golden Globe nominee shared during a virtual press event this week, alongside costars Anthony Mackie, Harrison Ford, Giancarlo Esposito, and Tim Blake Nelson. "Being part of the MCU, especially in this extraordinary film, is incredibly exciting.

"The preparation was intense – five days of training weekly for months before filming," Haas elaborated. "While I've always enjoyed training, this was an entirely different experience. Immersing myself in both the character and the Marvel universe has been remarkable. Though it's quite different from my previous roles, I believe that's exactly what makes it such a gift for an actor."

Speaking about her character Ruth Bat-Seraph – a former Black Widow operative now serving in the US President's (Harrison Ford) intimate security detail – Haas emphasized her appreciation for the role's complexity. "Beyond the thrill of portraying a powerful character, I was deeply drawn to Ruth's dramatic layers. I wanted to honor her background and origins while bringing as much depth as possible to the role. The entire experience has been extraordinary," Haas concluded warmly, "particularly working alongside such an exceptional cast. It's truly been an incredible journey."

The fourth Captain America film, set for a February 14 release, has weathered significant production challenges. Beyond the controversy surrounding Haas' casting and subsequent boycott calls from pro-Palestinian groups, the film faces criticism from America's conservative right – both over Mackie's casting and public statements – and from Trump supporters, given the film's apparent portrayal of the US President as an antagonist.

Meanwhile, the film underwent substantial changes during production, including a title change (from "New World Order" to "Brave New World") in response to global events. Significant content modifications were made long after principal photography had supposedly wrapped, with new characters added, existing roles reduced, and numerous additional scenes filmed and re-edited.

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In a delayed announcement due to devastating Los Angeles wildfires, and against the backdrop of Donald Trump's dramatic White House return, the 2025 Oscar nominations were revealed Thursday in Hollywood, marking a watershed moment for international cinema.

The critically acclaimed "Emilia Perez," directed by French filmmaker Jacques Audiard, dominates this year's nominations with an unprecedented 13 nominations – setting a new record for a film not in English. This groundbreaking musical chronicles a Mexican drug baron's journey through gender transition, masterfully blending crime drama with intimate personal transformation.

In a historic achievement, Karla Sofia Gascon makes Oscar history as the first transgender performer nominated in the acting category. Her co-star Zoe Saldana secured a supporting actress nomination, while the film swept nearly every eligible category, including dual nominations for best original song.

Close behind with 10 nominations each are the box office phenomenon "Wicked" and the powerful historical epic "The Brutalist," directed by Brady Corbett. The latter presents a compelling narrative of a Jewish architect's post-Holocaust immigration from Hungary to America.

"Wicked" stars Cynthia Erivo and Ariana Grande both earned unexpected but well-deserved acting nominations – Erivo for lead actress and Grande for supporting actress. Meanwhile, "The Brutalist" garnered recognition for its stellar cast, with Adrien Brody, Felicity Jones, and Guy Pearce all receiving acting nominations, alongside nods for original screenplay, cinematography, music, director, and best picture.

Director Edward Berger's tense Vatican thriller "Conclave" accumulated 8 nominations, including a worthy best actor nomination for Ralph Fiennes. The Bob Dylan biopic "A Complete Unknown" matched this total, featuring Timothee Chalamet's second career nomination for his portrayal of the enigmatic Jewish musician.

Notable contenders include "Anora" with 6 nominations, and "The Substance" with five, including recognition for stars Mikey Madison and Demi Moore – the latter having already claimed a Golden Globe with a memorable acceptance speech. Coralie Farge, who helmed "The Substance", stands as this year's sole female directing nominee. Denis Villeneuve's "Dune 2" secured 5 nominations, including best picture.

In the documentary category, while director Alexis Bloom's "The Bibi Files," featuring investigation footage of Prime Minister Benjamin Netanyahu, missed the cut, "No Other Land" by Basel Adra, Hamdan Ballal, Yuval Abraham, and Rachel Szor earned a spot among the final five. The film, documenting IDF operations in Masafer Yatta, despite winning two Berlin Festival awards, remarkably still lacks US distribution – though this nomination will likely change that.

Other significant nominations include Kieran Culkin for Jesse Eisenberg's "A Real Pain" in the supporting actor category, following his recent Golden Globe win. Sebastian Stan surprised with a best actor nomination for his portrayal of Donald Trump in the contested film "The Apprentice."

The animated feature "The Wid Robot" impressed with 4 cross-category nominations, while Brazilian director Walter Salles' "Ainda Estou Aqui" ("I'm still here" in Portuguese) earned nominations for Best Foreign Film, Best Picture, and Best Leading Actress – with star Fernanda Torres already claiming a Golden Globe.

The most striking omission was Luca Guadagnino's erotic sports drama "Challengers," previously considered a front-runner for original score. Angelina Jolie's performance as opera legend Maria Callas in "Maria" also failed to secure a nomination.

The 97th Academy Awards ceremony, scheduled for March 2, will be hosted by comedian Conan O'Brien.

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Guy Nattiv does not really have time to speak with me. Four years after the globally successful Israeli director won an Oscar for the English short film "Skin" (and released his first Hollywood feature film, also called "Skin"), he is once again about to enter the eye of the storm.

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In a few days, Nattiv will leave his home in Los Angeles, the city in which he and his family have been living for the past decade, and go on a busy and intensive PR tour of the United States' East Coast to promote his new and highly anticipated international movie - "Golda", a biographic war drama starring the legendary actor, Helen Mirren, following Israeli Prime Minister Golda Meir during the dreadful days of the Yom Kippur War.

But before he leaves, he needs to finish the sound work on his next and very intriguing film, "Tatami," which he co-created with two Iranian partners and is about to have its world premiere at the upcoming Venice International Film Festival.

"It's quite a crazy time," he tells me over the phone as he makes his way to the soundstage at Sony Studios, where his sound technicians are waiting for him so that they can do some final touchups on "Tatami." "Not only is 'Golda' coming out now in Israel and Europe, but next week it's also being released in 1200 theatres all over the United States – which is completely insane when you consider the fact that we are living in an era where almost all the movies that are not big box office hits go straight to streaming.

Video: The trailer to Golda

"But due to the actors' and writers' strike that has been paralyzing Hollywood for the past few months – all the PR is on me. Understand: there is no Helen or anybody else. So, I am going to eight different states alone.  It's my first time doing something like this, but I do not have a choice. I must do everything possible."

As for the timing of "Golda's" release in Israel, Nattiv actually believes the film "could not have come out at a better time," and not just because this coming Yom Kippur marks 50 years since the war.

"There is no doubt that there is a resemblance between 1973 and today," he says. "It is more than a resemblance. Fifty years after the failure of 1973, we are once again seeing a disturbing spectacle of a detached government ignoring the warnings it is being given. The commander of the Israeli Air Force says, 'We are in danger.' And Bibi and his partners completely ignore this whole thing and continue to charge like a bunch of crazies toward a revolution that will bring disaster upon us. This is far greater than the Yom Kippur failure. The one who will be held accountable for this at the end of the day is the Prime Minister. Who knows what will happen in a few months? It's frightening to think about."

"I wanted to film in black and white"

"Golda," which had its world premiere at the Berlin International Film Festival (and opened the Jerusalem Film Festival last month), is one of the only narrative films to date that depict the trauma of the Yom Kippur War.

The script, written by British producer and writer Nicolas Martin ("Florence Foster Jenkins"), takes viewers back to the events of October 1973, focusing on Golda during those fateful days when it seemed that the IDF was facing a crushing defeat at the hands of the Egyptian and Syrian armies.

"Due to the actors' and writers' strike that has been paralyzing Hollywood for the past few months – all the PR is on me. Understand: there is no Helen or anybody else. So, I am going to eight different states alone. It's my first time doing something like this, but I do not have a choice. I must do everything possible."

The film also paints an intimate and deeply human portrait of the first and only woman (so far) to serve as Prime Minister in Israel. It presents parts of her testimony at the Agranat Commission that was established to investigate the war's failures, shows her receiving secret radiation treatments to combat the leukemia she was suffering from at the time, and lingers on her unique relationship with U.S. Secretary of State Henry Kissinger.

This film is impressive in every aspect. Helen Mirren delivers an outstanding performance and fully embodies Golda's character. The directing is accurate and devoid of unnecessary embellishments, and the sound work stands out for its effectiveness. With the constant presence of clouds of cigarette smoke (back then, apparently, everyone was a chain smoker, especially Golda), Nattiv succeeds in creating a suffocating, oppressive, claustrophobic, and nerve-wracking atmosphere.

The Israeli supporting actors surrounding Mirren – including Rami Heuberger in a chilling appearance as Defense Minister Moshe Dayan, Lior Ashkenazi as IDF Chief of Staff David ("Dado") Elazar, Dvir Benedek as head of the Military Intelligence Directorate Eli Zeira, and Rotem Keinan as Mossad director Tzvi Zamir – all do a fantastic job.

Secretary of State Kissinger is portrayed by the Jewish-American supporting actor Liev Schreiber ("Ray Donovan"), and the high-quality cast is complemented by French actress Camille Cottin (from the popular series "Call My Agent!") playing Golda's personal assistant and confidante, Lou Keidar.

"Golda" began its journey on the Amazon streaming platform long before the COVID pandemic.  Interestingly, the one who was in the advanced stages of negotiations to direct it before it was decided to entrust the reins to Nattiv was none other than Barbara Streisand.

"Barbara was friendly with Golda, and there is a YouTube video of her interviewing her affectionately," explains Nattiv. "Originally, it was a very different film. When I first joined the project, it already had a script, and there were other directors I had to compete with for the role. But it was also supposed to be an enormous war epic—an incredible three-hour saga. There were battle scenes with exploding tanks in the style of "Saving Private Ryan," and the budget was something like USD 70 million. In fact, even then, they spoke with Helen Mirren because Golda's grandson, Gidi Meir, said that she reminded him of his grandmother. But Golda was a much smaller part of the story."

"In the original version, the characters in 'Golda' spoke in a kind of 'British' manner, like in 'The Crown.' It was not believable and not authentic. I told the producers that I needed to get into the depths of the script and change it, put the war inside smoke-filled rooms and hallways. They loved the idea."

After the outbreak of the COVID-19 pandemic, the project left the Amazon platform, moved to the hands of independent producers, and experienced a noticeable budget cut. Meanwhile, to Nattiv's delight, the discussions with Streisand did not materialize, and another competitor for the role, director James Gray, decided to pivot and make a science fiction film with Brad Pitt instead.

But surprisingly, before Nattiv chose to accept the role, he chose to present some rather strict conditions for the producers.

"I said to them: 'Listen, I cannot do this movie without delving into the depths of the script and changing it.' Initially, it was a very inflated script, and all the characters spoke in a kind of 'British' manner, like in 'The Crown.' It wasn't believable, and it wasn't authentic. I wanted to incorporate dialogues from the official protocols of the war, and I wanted to focus on Golda."

"The idea was to make a character piece, to really get under her skin. I told the producers: 'Let's bring the war into smoke-filled rooms, bunkers and hallways. Let's get rid of all the battle scenes and just use the real sound of what happened there.' And they liked this idea.

"Besides that, I had three more conditions: Israeli actors would portray Golda's military entourage, the film would be in Hebrew, and it would be in black and white."

Q: Are you serious? Where did you get the courage to make these demands? Were you not worried they would tell you, "Okay, bye," and simply move on to the next person on the list of candidates?

"On some level, maybe I wanted them to tell me 'No' so that I could tell myself, 'This is not my movie, this is not my journey.' Because under no circumstances was I willing to make a propaganda film like 'Exodus.' I did not want the film to have 'romantic fluff.' I wanted to do a more personal and less national film. I wanted to present Golda to the audience from a different place, a place we do not know. So, I piled up difficulties for the producers to see how open they would be to my ideas.

"They did not agree to do the movie in black and white, and in the end, we decided not to do it in Hebrew either. But they did agree to other things. We cast Israeli actors, for example, and in the deal I made with them, they did give me the right to veto, which is super rare. The second I had this right to veto, I felt much more protected and secure. I felt like they really wanted my authentic Israeli voice. I was very happy that they had to courage to go to a darker and less flattering place and do a film that does not try to suck up to the audience."

Makeup and sacks on her legs

Despite the widespread agreements Nattiv reached with the producers, he had one more hurdle to jump through before he officially got the job: he needed the approval of the lead actress, Mirren – something that didn't turn out to be a significant problem.

"Helen simply came to my home in the middle of the pandemic, wearing flip flops and with her hair up," Nattiv recounts his first meeting with the iconic actress. "We sat and talked for three hours and had an incredible connection. She's one of the cinema legends, no doubt. On the level of Meryl Streep, in my opinion. A woman without an ego. She speaks to you at eye level, without pretenses or a chauffeur or anything like that. Yet, you can sense how strong she is. There is something very British and regal about her. I was very impressed with her readiness and openness. She said to me: 'Listen, I'm not an Israeli. So, I'm counting on you to lead me.'"

Q: How much did the script change after you joined as the director?

"As I mentioned, it was an entirely different film before I joined. If you read the previous script, you will be shocked. There is no similarity whatsoever. Nicolas Martin's original idea was to make a war movie par excellence. But that did not interest me much. For example, Golda's battle with cancer was not in the original script. The walk through the hospital's morgue was not in the original script. Even the scenes from the Agranat Commission were not in the original script."

"Helen came to my home in the middle of the pandemic, wearing flip-flops and her hair up. We sat and talked for hours, and we had an incredible connection. She is a woman without an ego. She speaks to you at eye level, without pretenses or a chauffeur. Yet, you can sense how strong she is. There is something regal about her."

Q: What was Mirren's familiarity with Golda and the story of the war?

"Helen was very eager to portray this character. She has a warm relationship with Israel and Israelis and amazing memories of Israel. She toured Israel from north to south with her Jewish British boyfriend after the Six-Day War. She volunteered in a kibbutz and worked in fruit picking. Even during our most difficult times, she always stood with us.

"She read books on Golda and did research, and after reading the new script, she told me that although she does not understand everything, she is very glad we are abandoning the war scenes and are instead focusing on Golda and her pain. Slowly, while working, she was exposed to more layers of the character's personality. She told me from the beginning: 'Do you realize we are entering a minefield, a highly controversial place?' I told her that I do, and she said: 'If you are ready, then so am I.'"

Q: Her performance in the film is so incredible that while watching it, there were several times I almost forgot it was her. What was it like to see her in full makeup as Golda for the first time?

"It was absolutely bizarre. It took us two weeks to get the right look in terms of makeup and prosthetics because Helen wanted it to be clear that it was her, that it was 'her Golda,' and it took time to achieve that exact balance. But from the moment we started filming, I no longer saw Helen. I only saw Golda. Every day, she was in the makeup trailer for three and a half hours – from 4:00 to 7:30 in the morning – and left it as Golda. She ate lunch with us as Golda. She went to the restroom as Golda. She took a nap as Golda.

"She walked around with these sorts of sacks on her legs because Golda had swollen legs. She wore a fat suit on her body. She enveloped herself in Golda and never took her off. Understand we are talking about a 78-year-old woman. We all get up at 7:00 in the morning, and she wakes up every day at 4:00! You would not hear a peep of complaint out of her. Nothing."

Q: What did you learn from working with her?

"A lot. First and foremost, seeing her work is incredible. Lior Ashkenazi came to me and said that what she does is like a school for acting. Her nuances, the way she moves, how she gets into character, the way she speaks – everything is so precise. Just wow.

"She taught me behavioral codes, and I was exposed to a level of professionalism I have never known. She has a saying she tells everyone: 'Don't be an ass, and be on time.' That is her motto. Very simple. Another thing I learned from her is power naps. She has a habit of taking an hour-long power nap at noon to reset herself. This is something I adopted. It is so right to shut everything down in the middle of the day. Without shame, without feeling like you are doing something wrong. And boom – you wake up like new and function much better."

"There is no doubt that there is a resemblance between 1973 and today. Fifty years after the failure of the Yom Kippur War, we are once again witnessing a disturbing display of a detached government ignoring the warnings it is being given. On the other hand, in 1973 – Golda resigned. Can you imagine a Prime Minister today resigning due to a failure?"

But not everyone supported the casting of Mirren, a non-Jewish actress, for the role of Golda. Some even accused the film's production of "Jewface" – a derogatory term coined by Jewish-American comedian Sarah Silverman, referring to cases where a non-Jewish actor portrays a Jewish character.

In an interview that made headlines online last year, British-Jewish comedian and theatre actress Maureen Lipman said that Mirren's casting was inappropriate because Golda's Jewishness is an inseparable part of her identity. "Ben Kingsley will never be allowed to play Nelson Mandela," she added.

"All the headlines following Lipman's comments were published while we were in the midst of filming," Nattiv recalls. "There is no doubt that they were very surprising and disappointing. Personally, I do not think Lipman's arguments have any teeth to them, but I do believe that this discussion on casting, in general, is good. Today, for example, Tom Hanks would probably not be cast as Forrest Gump. They would try to cast an actor with disabilities.

"However, this pendulum is taking things to the extreme, to the point that it is beginning to harm the art of acting. Because what will really happen if only a Jewish actor can portray a Jewish character? Does it mean that tomorrow, a Jewish character will not be able to portray a non-Jewish character? This debate creates a very dangerous situation. On the one hand, it cannot be ignored or silenced. But on the other hand, when I first met Helen, I saw Golda before my eyes.

"Helen also said: 'Listen, if I do not do a good job, I will be able to understand the criticism.' But she is doing an excellent job. She is the most Golda one can be. So, apparently, you cannot please everyone."

"It was very surprising and disappointing to hear the criticism against Helen Mirren's portrayal of a Jewish character. This debate is taking things to a very extreme and dangerous place. Because if only a Jew can portray a Jewish character, does that mean that tomorrow a Jew will not be able to play a non-Jewish character?"

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Gal Gadot's first Hollywood audition was for the role of a James Bond girl in "Quantum of Solace," alongside Daniel Craig. Although Gadot did not get the role, now, a decade and a half later, she finds herself playing a female version of 007 in Heart of Stone – a big-buck action thriller with fireworks that will broadcast on Netflix on August 11 (and which will be, if all goes as planned, the first installment of an ongoing series). The days when she was regarded as "the girl of" are long gone. Today Gal is the thing herself.

"It's true," says the Israeli superstar in a special interview with Israel Hayom. "My first audition was for a James Bond girl. It's funny how life turns around sometimes, isn't it?"

Even though she has already starred in several big blockbusters – including "Wonder Woman", "Justice League", "Red Notice", and "The Fast and The Furious 6" – the current movie is actually the first project that Gadot and her husband, Yaron Varsano, developed and produced themselves within their own company, Pilot Wave.

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"It was an extremely empowering and educational experience," she says. "It was something I always wanted to do. I'm a person who really likes to create. When Yaron, my husband, and partner, and I saw Wonder Woman's box office success it gave us a boost of confidence and we said to ourselves, 'Okay, we can do it. Let's try. What have we got to lose?' So we decided to work on our idea and joined Skydance, which is a very large production company. They have done all the Mission: Impossible movies, for example. Together we embarked on this journey. We started working on this project in 2018, and it took us five or six years from the moment we thought up the idea until we could sit and talk about the movie."

In "Heart of Stone", which also features the Irish hottie James Dornan ("Fifty Shades of Grey") and super Bollywood star Alia Bhatt, Gadot plays intelligence agent Rachel Stone who is tasked by a peacekeeping operation known as Charter.

Video: Gal Gadot appears in the trailer for Heart of Stone / Netflix

Along with her partners, she is chasing around the world after a deadly and all-powerful AI tool that falls into the wrong hands. As you can guess, on the way there, Stone encounters plenty of dizzying and hair-raising confrontations with her opponents and countless opportunities to prove her physical and mental skills.

"When we started producing the movie," says Gadot, "there was already talk about AI, but we had no idea that by the time the film came out, the matter would be so developed and pertinent."

Q: I know you've already managed to make quite a few action films during your career, but it seems that this time you've really outdone yourself with stunts. Besides punches and shootings, you also race on motorcycles, jump from mountains and airplanes, and much more, to such an extent that while watching the movie I was often reminded of Tom Cruise.

"Physically, it was undoubtedly the most intense film I've done. It's funny, because every time I make a film like this, I say to myself 'Wow! That was the most physical and challenging film I've ever done!' Then the next film comes along and proves me wrong. So, yes, this movie undoubtedly raised the bar very much. When we started, we clearly knew that there was going to be lots and lots of action. But seriously, the director responsible for the stunts took us to literally very, very high levels."

Our meeting with Gadot takes place just after she found out that she is being awarded a star on the Hollywood Walk of Fame, and as we speak, a long list of major and illustrious movies are in various stages of production, including Disney Studios' "Snow White" (in which she plays the wicked witch), "Cleopatra" (planned to be a huge epic), "Red Notice 2" (alongside Dwayne Johnson and Ryan Reynolds) and more.

Q: You said in past interviews that when it comes to your Hollywood career, you have taken the approach of "fake it till you make it." Now that you are going to have your own star on the Walk of Fame and you have so many high-budget films on the way, do you feel that "you have made it"?

"I don't walk around thinking about this all the time, but it's definitely a feeling that pops up every now and then. I don't think it's necessarily related to a star on the Walk of Fame or some other kind of validation, but with all the things I am experiencing, it's very human and basic, at least for me, to ask myself 'How did all this happen to me? How do I actually do all this?'. So yes, it still happens sometimes."

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Oliver Stone is late. It's been almost 40 minutes since we were supposed to meet on Zoom and I'm still waiting for him, afraid to step away in case he appears. Did he forget about our meeting? Did he change his mind and decided not to be interviewed? Or did I maybe send him the wrong link? 

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"I'm sorry," he apologizes immediately upon connecting, "I'm on vacation in Italy with my wife. Too much pasta, too much ice cream, too much everything. I completely forgot that we were scheduled to speak. I'm sorry you had to wait." 

I don't tell him this but for the opportunity to interview one of the greatest filmmakers of the 20th century, I would be willing to wait much longer than 40 minutes. 

Stone is, after all, the man who wrote "Scarface," who won his first Oscar for adapting "Midnight Express" to film, and two more for "Platoon" and "Born on the Fourth of July." He directed "JFK" and an array of provocative films such as "Salvador," "Wall Street," "Talk Radio," "Natural Born Killers," "The Doors," "Nixon," "U Turn," and others that have become an integral part of American cinema of the 80s and 90s. 

I speak with Stone, who is turning 77 in September, ahead of his arrival at the Jerusalem Film Festival where he will be awarded a certificate of appreciation and present his new documentary, "Nuclear Now," which argues that nuclear energy is the solution to fight climate change. 

"I'm very much looking forward to visiting Israel," Stone says, "I've visited it several times in the past, and I'm coming back because I'm curious. I received a very nice invitation from the festival. They wrote to me that they want to give me a lifetime achievement award. I don't see it as a political thing. It is given to me for the films I've made. It comes from a place of deeper critical and artistic appreciation of my work, and I'm happy to share it with the Israeli and Arab audiences, and with anyone who comes.

"I visited Israel 20 years ago. I came to film a documentary called 'Persona Non Grata', which dealt with the Israeli-Palestinian conflict. I interviewed Shimon Peres and [Prime Minister Benjamin] Netanyahu. It was crazy because during the conversation with Netanyahu, a bomb exploded further down the street and everything became very dramatic. I also interviewed [PLO leader Yasser] Arafat and the al-Aqsa [Martyrs'] Brigades. Then I almost got stuck in Ramallah. The Canadian ambassador managed to get us out of there at the very last minute, a second before a siege began. Lucky, because otherwise we would have been stuck there for a month."

Q: Your father was Jewish. Growing up, was Jewish culture present in your life? 

"I was raised in between. My mother was Catholic, and my father was Jewish, but they decided as a compromise to raise me as a Protestant. They put me in Sunday school very early on. So no – I never had any knowledge of Judaism. My father was a tough man and he hated the Old Testament. Well, maybe 'hate' is a bit of a strong word, but he didn't find any use for it and thought it was bull***. In my opinion, it's actually a very exciting and historically interesting book. We studied it in Sunday school."

Q: Do you keep track of what's happening in Israel politically? 

"I don't really know or understand what's going on there. It seems that Netanyahu is doing the best he can, but he has undoubtedly chosen some strange partners. Fundamentalist types, I would say. I can't say that I have respect for these people."

Q: As we speak, tens of thousands are protesting against the government. There's talk of a civil war. So perhaps you should bring your camera along. 

"Oh no. Last time I almost got stuck in Ramallah. Don't tell me I might get stuck in Jerusalem this time. What are the protests about? 

Q: About democracy. 

"I see. Democracy is beautiful, beautiful and important." 

"I'm coming to Israel because of my films"

The decision to invite Stone to the Jerusalem Film Festival garnered a lot of criticism in the media in recent weeks due to the director's several controversial statements throughout his career, such as statements viewed as antisemitic he made in 2010 while promoting his documentary miniseries "Oliver Stone's Untold History of the United States."

"I am not an antisemite," Stone clarifies firmly when I tell him that many in Israel still remember his remarks. "I was never an antisemite, and I don't think the things I said were antisemitic. I apologized for the things that were said, and various Jewish organizations in the US cleared me of any guilt."

Q: You said at the time that Hitler was misunderstood and that Jews control the media. 

"It sounds really terrible when you say it like that, but it's out of context. If you watch the documentary series I made – 12 hours long – you can see exactly what I think and say about Hitler, Germany, and World War II. 

"But most people haven't necessarily seen the series. Most people feed on headlines and soundbites. The series speaks for itself. It provides a very interesting and unorthodox view of WWII, among other things. So what else do you want me to say? 

"I'm coming to Israel because of my films. I'm not coming to make a documentary about the ongoing political bull***, that's not my goal here. I'm an older man. I'd rather talk about other things, and not degrade my career by bringing up things I said In the past. I prefer to talk about nuclear energy."

And indeed, "Nuclear Now" is very different from what one would expect from Stone, both due to the subject and the direct and matter-of-fact tone used to convey the message. 

According to Stone, he became interested in the subject after reading "A Bright Future" by Joshua S. Goldstein and Staffan A. Qvist. Stone originally thought to adapt the book to film, but eventually decided on a documentary approach. 

"As I see it, the matter goes beyond parties, countries, and continents. Conservatives, liberals, Republicans, Democrats, Right, Left – this is relevant to everyone. There is a clear conclusion that nuclear energy works, and that it can be a solution to the climate crisis. Many years ago we foolishly turned our backs to something that works.

"We show in the film how nuclear energy was shunned. We deal with the reasons why people are afraid of it – Hiroshima and Nagasaki, the Chornobyl disaster; the horror films produced in the 1950s, with all the monsters created as a result of radioactive radiation: 'The China Syndrome' with Jane Fonda, 'Silkwood' with Meryl Streep, and of course the HBO series, 'Chernobyl', which shows an exaggeration of what happened. 

"In movies, nuclear energy is never a good thing. From the beginning, people made the wrong connection between nuclear bombs and nuclear energy, but the two are so different. It's a glaring lack of understanding of the matter."

Q: How come? 

"Because even if you don't believe in global warming, I would argue that nuclear energy is the cleanest and most effective type of energy we have. This is not to say that solar energy and wind energy are not effective, because they are. But they don't work all the time, and their hours of activity are limited. Nuclear energy works around the clock. You can't do that with the other energies. For example, in winter, when there is no sun or wind, the substitutes used today are methane or coal, and methane is one of the largest pollutants. It's a terrible solution. The oil companies love it, of course."

Q: And what made you make this movie specifically now? 

"I'm older. I have children, and hopefully grandchildren soon. What will happen to them in 2050? The world is spending trillions of dollars on renewable energy, but according to the reports coming out in 2020, when we started working on the film, carbon dioxide levels are still rising. So we're not doing enough, it's not working. The change is not big enough. The world needs to shift its consciousness. Nuclear energy should be put back on the agenda, it should be encouraged.

"We were in Davos last February. All these important people, sitting there on the stage talking about the future of the world and blah-blah-blah. They never talk about nuclear energy. Why?"

Q: Do you think humanity is ready for such a shift in consciousness? 

"Yes. Radioactive radiation is a fact and a part of life, and we should stop being afraid of it. There is radiation in dental clinics and is part of cancer treatments. It is all around us whether we like it or not, and we have to accept it. President Eisenhower praised nuclear energy. Kennedy also supported it. It was already on its way to happening. In the 1970s we aimed to make America a nuclear nation by the year 2000. But as we show in the film, the oil and coal companies lobbied against it. They tried to say that any amount of radiation is harmful to us, but that's not true, it's been proven. The film is about facts, not opinions or theories.

"I like to compare nuclear energy to Cinderella. She's the ugly sister who stays at home and cleans the floors, while her sisters go out and have a life. Then one day we all find out that Cinderella isn't ugly at all, she's actually beautiful. That's how I feel about nuclear energy. It's a misunderstood topic that got a bad reputation undeservedly."

Living according to the "Socratic method"

Although he hasn't made a feature film since "Snowden" in 2016, Stone has been very busy in recent years. Besides "Nuclear Now", which premiered at the latest Venice Film Festival, two years ago he released "JFK Revisited: Through the Looking Glass," a documentary that brought him back to the conspiracy surrounding the assassination of Kennedy, 30 years after the monumental feature film he directed on the subject.

Stone also took advantage of downtime during the pandemic to write a fascinating memoir titled "Chasing the Light" about the struggles, disappointments, and successes that characterized the first decade of his film career.

"It was very easy and fun for me to go back in time to write the book," he says. "It gave me an opportunity to step aside for a moment and step outside of myself. It allowed me to examine my life as a philosopher. As a writer, you look at the things you've done in your life and examine yourself. You think about the meaning of your actions. This is the Socratic method – to look for the best way to live. That's what I try to do. I don't always succeed, but I try."

Q: Your book ends with you winning an Oscar for "Platoon," based on your experiences as a soldier in Vietnam. Are you planning to write the rest of your story?

"Yes. The book ends when I'm 40 because so many things happened to me until then. I would like to go back and tell the story until the end because it's a piece of a story. This book is about the dream, about the person who dreamed it, and about the first great fulfillment of the dream, that happened with the release of 'Platoon' and 'Salvador.'

"I wanted to show the reader that there is a lot more to this business than success. I wanted to write about the lessons I learned. To tell how each of these films was made and how difficult it was to make them. There was nothing more difficult than making these two films.

And of course, there are also all the scandals and stories surrounding the 'Midnight Express', 'Conan the Barbarian', 'Scarface' and 'Year of the Dragon', which I wrote for other directors. I saw so much along the way and felt like I had a lot of insights into life that I wanted to share. I tried to be as honest as Ron Kubik was in his book, on which I based the movie 'Born on the Fourth of July.'

Q: Almost all the films in your filmography were very difficult to make. There is no way they would be produced today. 

"I agree with you that the atmosphere today is very different. My breakthrough happened when Reagan was in the White House, I was part of the reaction to it. But even so, during my career, there were more films that I wasn't allowed to make than films that I was allowed to. So maybe I became too dangerous at some point ".

Q: And yet, you have directed at least 20 cult films. 

"I was very lucky, I guess. But these days it's so expensive to make movies and market them. That's why most movies have to be blockbusters, and those movies can really be very boring and repetitive. The Fast and Furious franchise, for instance. How many car crashes can we watch? Or the 'John Wick' movies. Keanu Reeves kills 400 people there, and you don't believe anything he does. It's so easy for him to kill people. It's ridiculous."

Q: I'm sorry, but how is that different from the movies of Sylvester Stallone and Arnold Schwarzenegger in the 80s? 

"True, I guess you're right, but don't compare me to them. In ' Natural Born Killers' I made a satire. I had to say it over and over again because people didn't understand. The murders in the movie were ridiculous and intentionally extreme, like in a cartoon. The idea was that America was going crazy and that the media makes the violence sensational and a major news subject. I started to notice it with the OJ Simpson trial and all kinds of other cases that happened at the time. But I never made a movie with that kind of violence again."

Q: You've known many successes during your career, but also some painful failures. When you look back at the films you've made, are there any that you feel didn't get the fame they deserved?

"Many of them," Stone says, laughing. "I think 'Alexander' is one of my best films, but people weren't ready to accept it and it received very harsh reviews. In my opinion, undeservedly so. I released another version of it in 2007, which lasts three and a half hours. There were places where it was successful, mainly in Europe, so they didn't forget it. But in the English-speaking world, it was scorned and it wasn't fair in my opinion. It obviously hurt a lot.

"I really like 'Heaven & Earth', which I think is a beautiful film, but no one has seen it. I also really like 'Talk Radio' and 'U Turn' – a kinky and crazy film. I think 'Any Given Sunday' is a classic football film. 

"The movie I made about the events of 9/11, 'World Trade Center,' didn't do well either. They said I was conservative, and all the attention was directed to 'Flight 93,' which presented a complete fantasy because nobody really knows what happened on that plane. But my film was authentic and showed the truth behind what happened. It was very difficult to make. 

Hollywood scandals

Professional and personal scandals accompanied Stone throughout his career and became one of his hallmarks early on. Over the years, he has also been accused of racism, misogyny, historical distortions, the glorification of serial killers, and a fondness for conspiracy theories, and the list of people he has clashed with in Hollywood is endless. 

However, in recent years most of the criticism directed at him is related to his unusual affection for Russian President Vladimir Putin. In 2017, Stone directed a four-hour documentary series, which consisted of interviews with Putin, and the result was severely criticized due to the director's forgiving and flattering attitude toward the Russian leader.

"I hear a lot of criticism from overconfident people who say, 'Stone got old and went completely crazy. He used to make good movies, but at some point, he took a wrong turn.' All this sh**. That's what people want to believe about me. But it's too early to tell whether I'm on the right side of history or not. History is still in the making."

Q: A year and a half following the invasion of Ukraine, do you still believe Putin is a great leader as you said before? Or has your opinion changed? 

"Putin is protecting the interests of his country. The conflict needs to be understood in a different way. If you don't recognize that the NATO alliance threatens Russia's territory, you ignore reality. He is in a difficult position because many Western countries are facing him. To tell the truth, I am surprised by the lack of understanding and the lack of empathy toward Russia. Very surprised even."

Q: You said in an interview once that you hated dictators and thugs. But in your political documentaries, such as the ones about Putin, Fidel Castro, and Hugo Chavez, you seem to be drawn to them. How do you explain the contradiction? 

"There's something very important to understand in this context. The reason I went to talk to these people is because they all stood against the imperialist policy promoted by the US. I didn't go to them to interview them about what was going on in their backyard. What interested me was how they stood against this empire, against America. That's my perspective."

Q: I'm also very curious to hear about your prediction with regard to next year's presidential elections in the US. 

"The upcoming election will be the craziest election we've ever had. I don't know what's going to happen. Biden has become very militant and is under the control of people who are worse and no less crazy than the fundamentalists in your government."

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Q: Do you think there's a chance Trump will return to the White House? 

"Yes. I don't support him and I never voted for him, but like Netanyahu, the fact that he is so attacked and hated only ensures that he will get more attention. Because a lot of people are really tired of the so-called mainstream media. Anyway, we have become a polarized and broken country and that's a real shame. The American Civil War was 150 years ago. What's happening now looks similar. I think the problems started in 2000 when George W. Bush was elected. I don't think he was elected legally. I had a feeling that evening that something strange was happening. Since then everything has been messed up."

Q: To sum up, would you ever make a film about Netanyahu? 

"As you know, I have already interviewed him before. But no, I would not make a film about him. He does not fit my profile. He is very much in favor of the American empire. Trump played into his hands and gave him everything he wanted. It is Biden who stands in front of him and confronts him on vital issues. It makes me laugh to see how these things work sometimes. We live in a world that no longer has black or white. Only shades of gray remain."

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Although All Quiet on the Western Front was first published almost a century ago, it remains one of the best-selling books in German history. Written by Erich Maria Remarque, it tells the story of a young German soldier and patriot Paul Baumer fighting on the Western Front during World War I.

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The book has sold over 50 million copies since its publication in 1929, has been translated into over 20 languages, and was even nominated for a Nobel Peace Prize. It is one of the most well-known anti-war books. 

All Quiet on the Western Front was first adapted to film in 1930 by Moldovan-American film director Lewis Milestone and won the Academy Awards for both Outstanding Production and Best Director. In 1979, another film adaptation was made in English starring actors Richard Thomas and Ernest Borgnine. 

Most recently, Spanish-German actor and filmmaker Daniel Brühl ("Inglorious Basterds," "Captain America: Civil War") produced the first-ever original-language film adaptation of the book, which hit number one on Netflix shortly after release. 

The story begins with the protagonist, 17-year-old Paul – portrayed by Austrian actor Felix Kammerer – forging his parents' signature to be allowed to volunteer in the army. But the feelings of patriotism and even innocence that prompted him and his friends to join the war quickly turn into despair at the horrific sights of the fighting. Another soldier Paul joins in the trenches is Stanislaus "Kat" Katczinsky portrayed by German actor Albrecht Schuch. 

Speaking with Israel Hayom at the Zurich Film Festival, where the film's European premiere was held, Brühl said, "As any German child, I read the book growing up. I re-read it later in life again, and on both occasions, I was deeply impressed by the writing and the way Remarque describes the experiences of the soldiers on the front. It all feels very real. I thought it would be very interesting to do a version in German. In fact, I didn't understand how it hadn't been done yet in almost 100 years" since the publication of the book. 

Director Edward Berger added, "It felt like it was the right time. When we started working on the film, two and a half years ago, the materials seemed very relevant. [Donald] Trump's presidency, Brexit, the rise of the far right in France and Hungary, the far right is also getting stronger in Germany. The tone all over the world is becoming more aggressive and more nationalistic. Of course, when we shot the film we didn't know that the war would break out in Ukraine, but now you see a lot of images [of fighting in Ukraine] on television that look like they were taken directly from our film. Like the Russian soldiers who are sent straight to the front without receiving any training for this, for example. Unfortunately, these issues are always relevant."

All Quiet on the Western Front, which is based on Remarque's own experience in the war and those of other soldiers, has an extensive history. It was first published in 1929 – only a decade after the end of WWI as the Nazi party was gaining power in Germany – and immediately became a sensation. As an example: within a year, it was translated into both Hebrew and Yiddish. 

The book's anti-war and pacifist message did not sit well with the Nazis, who accused Remarque of a lack of patriotism and detested the way he portrayed German defeat in the war at the hands of the English and French. They set out to ruin his reputation by spreading rumors that Remarque was Jewish and had never served in the military. 

A year later, in December 1930, the Hollywood adaptation of the book, which as mentioned above was directed by Milestone, was screened for the first time in the magnificent Mozartsaal hall in Berlin. According to local media reports, the audience, which included intellectuals and celebrities, was deeply shocked by the scenes. They did not clap nor speak after the film ended. 

The Nazis, who quickly realized the danger the movie posed to national morale and honor, made sure to sabotage any future screenings. Just a few days later, dozens of them – under the leadership of Josef Goebbels – interrupted movie screenings by throwing stink bombs, releasing mice, shouting anti-Jewish slurs, and even beating audience members. 

Goebbels would later write in his diary that "within ten minutes the movie theater turned into a madhouse" and that "the police were powerless." 

In Vienna too the Nazis tried to block the screening of the film and riots broke out throughout the city after over a thousand police officers surrounded the cinema in an attempt to prevent the Nazis' entry. 

The film was soon banned altogether and was not screened in Germany until over 20 years later. The book was heavily censored as well, and when the Nazis began to burn literature, All Quiet on the Western Front was among them, as was its sequel, The Road Back (1930).

Fearing for his life, Remarque fled to Switzerland, and later to the United States in early 1933, shortly after Hitler was appointed chancellor of Germany. 

Brühl said, "The Nazis didn't appear out of nowhere. It is fascinating to follow the chain of events and try to see where the process originated. And in this case, it all started here, at the end of WWI. [Austrian film director] Michael Haneke's The White Ribbon presents this in a very smart and accurate way. Remarque was asked in an interview, when he was older already, whether there was any reason to write the book at all, given what happened in Germany in the years to follow, whether it broke his spirit and made him think that the book had no effect, and he said no. He said we cannot stop talking about these issues. That this story transcends time. That it is eternal. That we must continue to tell this story."

Berger added, "Remarque wrote the book over 90 years ago. He didn't have the perspective and the history books that we have. It was important for us to show that this was only the beginning. That another war, much worse, was already on the way. It was important for us to show the futility of the war. That the lesson wasn't learned and twenty years later it happened again."

To provide the necessary historical context, Berger and his team decided to add an additional storyline about an earlier event – the armistice negotiations between Germany and France, which were held on a train carriage in the heart of France's Forest of Compiègne. Brühl plays Matthias Erzberger, a German politician and authorized representative of the Reich government who signed the armistice.

Berger explained, "The generals didn't want to sign an agreement to end the war, which is why they sent a politician so that later they could blame him and other politicians for the defeat. They claimed that had they not been held back by the politicians, they would have won. This is how the Dolchstoßlegende, or stab-in-the-back, myth came to be," which was an anti-semitic conspiracy that was widely believed and promulgated in Germany, claiming that the Imperial German Army did not lose WWI on the battlefield, but was instead betrayed by certain citizens on the home front – especially Jews. "Hitler based his entire campaign on this feeling of betrayal. And that is how he justified his attacks."

Brühl added, "We didn't know if the back-and-forth between the negotiation scenes and the war scenes would work. We wondered whether we should just stay with the storyline of the soldiers, but I think it's very effective to see the enormous difference between the chaos of the battlefield and the polite manners of the conversations on the train. It's an iconic moment in history.

"Erzberger, whom I portray, was a conservative politician from southern Germany who had made his way to Berlin. He quickly became a target, because he was very critical of German policy. He knew that he might be targeted, but did not hesitate. He was assassinated a few years later as retaliation for the signing of the armistice.

"They claimed his cowardice led to Germany losing the war, which became the cornerstone of the Nazi propaganda. So much so that when Hitler invaded France, he asked for the same train car in which the armistice had been signed. He wanted the French to sign their surrender in the same place."

There is no shortage of movies about WWI. Stanley Kubrick's war picture Paths of Glory (1957) is considered one of the greatest of the genre to this day. A decade ago Steven Spielberg released War Horse and in 2019, Sam Mendes' one-shot masterpiece 1917 hit the theaters. And yet, movies portraying the way from Germany's perspective are few and far between. 

"For some reason, it's not something we've touched upon yet," Berger said.

According to Brühl, the main difference between films presented from the perspective of the winning side as opposed to the defeated is that the losing side cannot afford to present itself in a heroic manner.

"An American or English war film can tell stories of heroism," he said. "Since they liberated Europe and defeated the fascists, they are allowed to do so, so to speak, and there really is no shortage of masterpieces in this genre. But we are Germans, and in everything related to WWI, we have no moments of celebration or glorification. There are no heroic elements in our films. What is on the screen is the essence of Remarque's book. Even those who survived their lives were destroyed. There are no winners in war."

Berger said, "We didn't inherit anything to be proud of. Only guilt and horror stories. What did the German heritage leave in the world? What did the German heritage leave us with? Two terrible wars. These feelings undoubtedly fuel the film and make it different from an ordinary war movie."

Q: Was there any fear about adapting such a canonical and loaded text? Did you feel a special responsibility?

Brühl: I'm not sure if there was any fear, but there was definitely a positive tension. We all felt that we were telling an important story, and we all felt responsible and wanted to do the best we could. Despite the challenging shooting days, the young actors never complained, because they felt that they were part of something special. It's nice that it happens sometimes.

Q: What guided you in terms of the depiction of the horrors of the war? 

Berger: The goal was to make our viewers see the events from the perspective of the main character, Paul, and make them feel what he felt. In terms of the violence, it had to be horrific, because otherwise, it would be inaccurate. We wanted it to be as unbearable as possible, without it being impossible to watch. For if you clean it up, it becomes glorification and propaganda.

Q: Were you inspired by other war films? 

"I think that over the years I've seen them all," Berger continued. "But specifically before working on this film I mostly watched movies that give a subjective experience. [Hungarian film director] László Nemes's Son of Saul, for example [which tells the story of a Jewish worker at the Auschwitz concentration].

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"It is an extreme depiction that really forces the viewer to go through the journey in the character's shoes. Our film is different, naturally, but I took a lot from Son of Saul. I wanted to create a similar experience through other means. Another movie that has always influenced me is Apocalypse Now, a pretty horrifying movie in my opinion. It has less story and more atmosphere. The chaos of war."

As for Brühl, it is not his first time acting in a war film, for as mentioned above, he starred in "Inglourious Basterds," a 2009 film by Quentin Tarantino, which offers a wildly reimagined narrative of World War II. 

"Ours was, of course, a completely different approach," Brühl said. "Quentin's film is brilliant. The way he reimagined history is genius in my opinion, and I am very proud to be a part of this film. But here our goal is different.

"I hope that as many young people as possible will watch the film, and I hope that some of them will also want to read the book. Then we will know that our goal has been achieved."

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Gal Gadol will step into Hollywood legend Grace Kelly's shoes in the remake of Alfred Hitchcock's 1995 classic To Catch a Thief, the Deadline online news site reported on Tuesday. 

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In the original film, Kelly starred opposite another Hollywood legend, Cary Grant, who played a burglar framed for stealing jewels. It is considered one of the greatest romantic thriller films of all time. It won an Oscar for Best Cinematography, Best Costume Design and Best Production Design. 

The remake of the thriller will be penned by writer and producer Eileen Jones, to be produced by Gadot and her husband Jaron Varsano as well as film producer Neal Moritz, of the Fast and Furious franchise.

Jones is well-known for her work on the Prodigal Son TV series.

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