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FeatureArts & Culture

Your guide to the 2025 Jewish International Film Festival 

The 50+ plus films at JIFF 2025 come from 15 countries, including Israel and Australia. Here's a taster of what to expect.
Kathy Laster
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Eleanor the Great

94-year-old actor June Squibb stars as a Holocaust survivor in Eleanor the Great, which marks the debut of Scarlett Johansson as a director (Image: JIFF 2025/Screenshot).

Published: 9 October 2025

Last updated: 9 October 2025

Traditions of storytelling are universal, but the depth and breadth of international Jewish filmmaking is unusual. The Jewish International Film Festival (JIFF), which opens across Australia in mid-October, is testament to the diversity of Jewish experience over time and space, as well as across the religious and political spectrum.

Perhaps one consequence of a widely dispersed diaspora is that Jews have always been early adopters of all kinds of globalised communication technologies. We seem compelled to share our stories in any available format.  

The 50+ plus films at JIFF 2025 come from 15 countries, including Israel and Australia. There are 26 documentaries and 19 feature films, two retrospectives, four Yiddish horror shorts and four local premieres produced with the support of the JIFF Short Film Fund.  

To guide you in choosing from the smorgasbord choices, here are some tasters.  

Confronting October 7  

JIFF opens barely two years after October 7, 2023 but it includes four films about the impact of the Hamas massacre, the continuing hostage crisis and resulting diaspora experience. All are documentaries – the events are still too raw for drama. 

Perhaps the most creative is A Letter to David, a personal cinematic message to hostage David Cunio by filmmaker Tom Shoval, based on behind-the-scenes footage and audition tapes from Shoval’s earlier film Youth, which starred David Cunio and his twin brother Eitan. 

Holding Liat offers a profoundly intimate account of one family’s experience following the Hamas attack (JIFF 2025/Screenshot).
Holding Liat offers a profoundly intimate account of one family’s experience following the Hamas attack (JIFF 2025/Screenshot).

The impact of the hostage tragedy on families is explored in Holding Liat, based on the experience of Liat Beinin Atzili who was kidnapped by Hamas with her husband, Aviv Atzili. The film, which won the Berlinale Documentary Award, follows the experience of Liat’s parents as they wait to discover her fate.  

More directly political, RISING: Voices of Protest and Hope, tells the stories of five Israelis intimately bound up in the war. They confront urgent questions for Israeli society – how to retain one’s humanity, resist authoritarianism and heal from collective trauma.  

The diaspora perspective is represented by Swedish film The Bridge Players, which explores how octogenarian Holocaust survivors are affected by the attack on Israel. The events of October 7 bring world politics into sharp relief for women who have lived through dark times before.  

The Lanzmann legacy 

Can it really be 40 years since Claude Lanzmann’s epic Holocaust documentary Shoah? To mark the anniversary, JIFF presents a new digital print of the film paired with a “making of” documentary, All I Had was Nothingness. The documentary uses behind-the-scenes footage and interviews, including with Lanzmann himself articulating his cinematic vision and method for Shoah. 

I don’t know if there are more Holocaust-themed films this year than in the past, but it feels like it

The Lanzmann legacy is evident in the editing of another JIFF documentary, The Eichmann Trial, based on footage from that infamous trial. Like Shoah, this film has a naked quality which invites viewers to discern ‘truth’ from the close camera, in this case focused on Eichmann during the court proceedings.  

I don’t know if there are more Holocaust-themed films this year than in the past, but it feels like it. Maybe Jewish audiences and film makers are more disposed to the theme as a proxy for the October 7 and Gaza war stories. 

Survival stories provide a hopeful counter to the confrontational Lanzmann-style documentary. The Future Awaits is a feature based on the true story of a family’s survival in a six-square-metre storeroom in Paris, as seen through the eyes of their teenage daughter. The film won the Holocaust Representation Award at the 2025 Jerusalem Film Festival. Bau, the Artist at War is a Holocaust love story based on the true story of artist Joseph Bau and his wife Rebecca, who wed secretly in the Kraków-Płaszów concentration camp.

The Eichmann Trial documents the prosecution of Adolf Eichmann in Jerusalem in 1961 (JIFF 2025/Screenshot).
The Eichmann Trial documents the prosecution of Adolf Eichmann in Jerusalem in 1961 (JIFF 2025/Screenshot).

A variant of the survival subgenre is the ‘lost and found’ story. There are at least four in JIFF this year. In the Stork of Hope, two orphan brothers are separated during the Holocaust. The boys tear a family photo in half so that they will each have a keepsake. Decades later the photo is achingly reunited. In The Ring, an Israeli/Hungarian co-production, a father and daughter with issues team up to try to find the lost ring of their mother/grandmother which saved her life during the Shoah.

The Stamp Thief is a documentary about the quest to reunite a valuable stamp collection, stolen and buried by a Nazi officer, with its original Jewish owner. Plunder: The Life and Times of a Nazi Art Thief follows an art historian’s chase to unmask Bruno Lohse, an SS officer who became Hermann Goring’s art agent looting Jewish collections with more than a little help from auction houses and galleries. 

Ordinary heroes 

More contemporary feature films provide some moving examples of ordinary people struggling with difficult circumstances and making the best of their lives. In the Israeli film Pink Lady, a Haredi woman discovers her husband is having an affair with a man and tries to seduce him back into their bed, with surprising results.

All cultures tell stories about their heroes, including the tribulations they have had to overcome to succeed  

In the French-Canadian comedy-drama Once Upon My Mother, based on an autobiographical novel, a woman is determined that her son with a club foot will be able to do anything, even dance.

You gotta laugh

Jews are good at comedy – we have had to be. JIFF 2025 opens with Bad Shabbos, a black comedy of (Jewish) manners which morphs into farce when a body is found in the closet during a complicated Friday night family dinner. Oy! 

Bad Shabbos took home the Audience Award at Tribeca Film Festival for its keenly observed comedy about faith, family foibles and crisis management (Image: JIFF 2025/Screenshot).
Bad Shabbos took home the Audience Award at Tribeca Film Festival for its keenly observed comedy about faith, family foibles and crisis management (Image: JIFF 2025/Screenshot).

Another crowd pleaser is Matchmaking 2, a religious romcom with new twists for the bachelor from the first Matchmaking film (JIFF 2023). Our hero is now over the hill, an unmarried man of 28. Despite all the shidduchs (matches) put in his way, he falls for the matchmaker’s own unattainable daughter. 

Highly successful in Israel, The Property is a romcom about a grandmother who schleps her granddaughter to Poland, ostensibly to reclaim family property but secretly in search of a long-lost love. Another film that celebrates a feisty grandmother is Eleanor the Great, which marks the debut of Scarlett Johansson as a director. It features 94-year-old actor June Squibb as a Holocaust survivor whose story is not what it purports to be.

Crying clowns 

The flip side of comedy is, as we know, tragedy. Two documentaries explicitly explore just how close these art forms are.  

From Darkness to Light tells the story of a never-made Holocaust comedy called The Day the Clown Cried. Jerry Lewis walked off set before it was completed and the rough cuts were meant to be destroyed. But this documentary includes some rescued scenes along with interviews with key players, including Lewis himself, interrogating whether the creative effort was “misguided or just ahead of its time”.

The resurgence of Yiddish language is one of the surprising success stories of the last few decades

Another biographical account of the fine line between comedy and tragedy is Art Spiegelman: Disaster is My Muse. Interviews with comic royalty, including Spiegelman himself, explore how his artistry turns the incomprehensible into comics which simultaneously move and entertain.  

Biographies of success 

All cultures tell stories about their heroes, including the tribulations they have had to overcome to succeed. Jewish heroic biographies implicitly, and often explicitly, focus on Jewish high achievers as a way of thumbing our nose at antisemitism and discrimination.

There are no fewer than 10 biopics in this year’s program, from intellectual heroes such as Sigmund Freud (Outsider. Freud) and Franz Kafka (The Glory of Life), to local-boy-made-good, businessman Frank Lowy (To be a Jew), and musician Tommy Tycho (TYCHO! Beyond the Baton), whose claim to fame includes arranging the Australian national anthem. 

A bisl Yiddish 

The resurgence of Yiddish language is one of the surprising success stories of the last few decades.  

Reclaiming Yiddish music is the subject of Jewish Voices: Resurrected Song (I Dance but my Heart is Crying), a documentary about the sleuthing undertaken to recover records produced by two Jewish recording companies in Berlin which were destroyed on Kristallnacht. The music from these endeavours feature in the film.

Yiddish Horror Shorts sees a screening of four Yiddish-language horror shorts that interrogate questions of Jewish identity and faith through uncanny events, dybbuks and vampires (Image: JIFF 2025).
Yiddish Horror Shorts sees a screening of four Yiddish-language horror shorts that interrogate questions of Jewish identity and faith through uncanny events, dybbuks and vampires (Image: JIFF 2025).

Another Yiddish offering is a retrospective, I have Sinned, one of the first Polish sound films made in Yiddish in 1936. It has a local connection as the star, Rachel Holzer, moved to Melbourne in 1939 and became the queen of Yiddish theatre here. The other is a set of Yiddish Horror Shorts where possession by demons in various settings is the order of the day.

Close to one quarter of the JIFF films have an intergenerational theme – the old and the young learning from each other. The Zweitflers, described as a cross between The Sopranos and Succession, is a fine example, a six-part German television series about the machinations of a Jewish business dynasty in contemporary Germany. Much of the dialogue, remarkably, is in Yiddish. A mechaye!

The Jewish Independent is sponsoring RISING: Voices of Protest and Hope and will host premiere events in Melbourne and Sydney. Book tickets online. Kathy Laster is on the board of Kadimah, which is also a JIFF sponsor. 

Find out more information about JIFF 2025 and book tickets online.

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About the author

Kathy Laster

Kathy Laster

Professor Kathy Laster is the former Director of the Sir Zelman Cowen Centre at Victoria University and is currently on the Board of Kadimah. She has written extensively on law, language, culture and culture industry.

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