Venice Film Festival: <em>Naza</em> exposes the savage machinery of war deployed by Israel against defenceless Palestinian civilians
Published by World Socialist Web Site
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Organisations 5
Amazon Web Services (AWS) Google Cloud Venice Film Festival Microsoft Azure Elbit Systems
Places 2
Claims made
Every claim in this document. Firsthand = asserted on its own basis; secondhand = recounted from elsewhere, carrying no independent weight.
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Naza won the Special Jury Prize at this year’s Venice Film Festival.
Naza, a documentary film by Israeli directors Yuval Abraham and Rachel Szor, won the Special Jury Prize at this year’s Venice Film Festival.
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The audience stood and applauded for over 24 minutes after a showing of Naza in Venice.
Following a showing of Naza in Venice earlier last week, the audience stood and applauded for over 24 minutes, a response exceeding the record 22‑minute‑long ovation accorded The Voice of Hind Rajab at last year’s festival.
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The Voice of Hind Rajab received a 22‑minute ovation at last year’s festival.
a response exceeding the record 22‑minute‑long ovation accorded The Voice of Hind Rajab at last year’s festival.
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Abraham and Szor are two of the four directors of No Other Land, which won the 2025 best documentary feature academy award and depicts the Israeli government’s efforts to force Palestinians from their homes in the southern West Bank.
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The reality is that since this film began, in the space of these 10 days, the Israelis have killed at least six children, a three‑year‑old girl in a school, two sisters at home who were sleeping.
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The review of the film in Germany’s Süddeutsche Zeitung, was headlined “Wir töten diese Kinder absichtlich” (“We deliberately kill these children”).
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In his Venice remarks, Abraham declared that the actions of the Israeli intelligence forces backed by the government in Tel Aviv was aimed at “the dehumanization of the Palestinians.”
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Abraham denounced the killing of over 200 journalists in Gaza by Israel.
He went on to denounce the killing of over 200 journalists in Gaza by Israel and declared:
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Its culture minister Miki Zohar called for the Israeli co‑directors of Naza to be stripped of their citizenship on grounds of “treason against the state.”
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On social media, Zohar thuggishly asserted he had asked the authorities “to investigate how the materials were obtained, who is behind them, and whether in the process of obtaining or publishing them, actions were taken that amount to aiding the enemy during wartime.”
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Benjamin Netanyahu, Itamar Ben‑Gvir and other officials made similarly threatening comments.
Benjamin Netanyahu, Itamar Ben‑Gvir and other fascist officials made similarly threatening comments.
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The chief of general staff of the Israeli military claimed the film was “based on blood libels, deliberate distortions of reality and grave, false accusations against IDF soldiers and commanders.”
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Naza was shot in secrecy at night on rooftops in Tel Aviv.
Naza was shot in secrecy at night on rooftops in Tel Aviv and features interviews with 24 former members of the IDF, including data analysts, drone operators and snipers.
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The interviewees remain in the shadow, their appearances and voices digitally altered.
Fearing for their safety, those interviewed remain in the shadow, their appearances and voices digitally altered.
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According to the film, the IDF has developed three programs—the main system, Lavender, supplemented by The Gospel (Habsora) and “Where’s Daddy?”–that help identify individuals or structures targeted for attack or destruction.
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The program “Where’s Daddy?” monitors telephones and is designed to react to messages such as “Daddy’s home.” This is the signal for action in the form of a drone or a missile aimed at wiping out an entire family—and of course any visitors or neighbours who get too close.
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The IDF alleges there is human oversight over the process.
The IDF alleges there is human oversight over the process, but perhaps the most horrifying detail in the film is that the programs were developed with a “permitted error” rate of 15 percent.
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but perhaps the most horrifying detail in the film is that the programs were developed with a “permitted error” rate of 15 percent. One of the interviewees refers to an expected rate of 20 percent, but the implication is that “error rates” could be even higher.
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Human operators are always able to blame the machine for errors when collateral damage occurs.
In any event, the human operator is always able to blame the machine for “errors” when human collateral damage is involved.
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According to those interviewed, thresholds could differ depending on the target’s importance; i.e., at times, up to 500 civilian deaths were accepted as a necessary cost for taking out a Hamas leader in a single strike.
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The programs are not just used for targeted killings—they can also be used to destroy entire neighborhoods in northern Gaza to prevent anyone ever returning.
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A former soldier commented, “You feel a bit like God.”
Reflecting on the AI programs’ powers of detection and surveillance, one former soldier comments, “You feel a bit like God.”
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Abraham raises the issue of genocide taking place in Gaza.
In the course of his interviews, Abraham raises the issue of genocide taking place in Gaza.
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One of the soldiers had visited a concentration camp in Poland and says he still considers the Nazis evil, but then states: “What am I then?”
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While the programs depicted in the film were allegedly developed by the Israeli military, their operation is dependent on the cloud services, storage space and AI tools provided by Amazon Web Services (AWS), Google Cloud and Microsoft Azure. This means that all of these US companies are complicit in Israel’s war crimes.
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Elbit Systems announced plans to set up a new plant in the German state of Sachsen-Anhalt.
The Israeli defence company Elbit Systems recently announced plans to set up a new plant in the German state of Sachsen-Anhalt.
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Greeting the plans to set up the Israeli weapons factory, the leader of the AfD in the state, Ulrich Siegmund, drew a link between the production of armaments, domestic security and his party’s fascistic “remigration” policy.
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Syndication
Who is repeating whom. This is shown as structure, and it is the reason a chorus never moves a belief bar: forty tellings of one assertion are still one.
- possibly restates Netanyahu’s October 7 ‘generals’ revolt’ conspiracy runs into a contradiction unconfirmed
- possibly restated by Netanyahu seeks to strip citizenship from Israelis as threats to NAZA film directors intensify unconfirmed
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