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Israeli Filmmakers NAZA Debuts at Venice with Record-Length Ovation
On September 10, 2026, the 83rd Venice International Film Festival opened its main competition with a moment that will resonate for years: the British documentary NAZA drew a 25‑minute standing ovation, the longest encore in the festival’s history, according to the event’s organizers. The audience’s sustained applause underscored the film’s powerful impact and the urgency of its subject matter.
Directed by Yuval Abraham and Rachel Szor, NAZA arrived in Venice as a late entry but quickly earned a prominent slot in the 64th New York Film Festival’s main slate. The Guardian, the film’s producer, announced a worldwide premiere in partnership with Venice on August 24, 2026, and confirmed its place in the September 25–October 12 NYFF schedule, signaling a coordinated international launch.
Venice’s main competition is one of the world’s most prestigious film arenas, and a selection signals strong international interest. Competing for the Golden Lion, NAZA joins a roster of titles that challenge audiences and critics alike, positioning the documentary at the forefront of the festival’s cinematic conversation.
The film also contests the top prize in NYFF’s main slate, a rare dual‑festival bid that highlights its relevance across continents. NYFF’s inclusion reflects the festival’s commitment to showcasing works that confront complex geopolitical narratives and encourages a broader dialogue among North American viewers.
At its core, NAZA delves into the Gaza conflict, presenting the voices of 24 Israeli intelligence officers and soldiers—whose identities are protected by voice alteration—to reveal the systems Israeli forces use to target civilians. The documentary exposes the mechanics behind military decision‑making, offering an insider perspective that is both rare and consequential for international audiences.
The title NAZA is an acronym employed euphemistically by Israeli intelligence to denote the expected number of civilian casualties in an airstrike. By foregrounding this terminology, the film draws attention to the clinical calculations that underpin military operations, inviting viewers to confront the human cost embedded in strategic planning.
Many of the revelations showcased in NAZA first appeared in Guardian reports published in collaboration with +972 Magazine and Local Call during the months following the October 7 attacks. These investigative pieces laid the groundwork for the documentary’s narrative, providing primary sources that the filmmakers drew upon to construct a comprehensive account.
The filmmakers, who previously co‑directed the Oscar‑winning 2024 documentary No Other Land, said their work was driven by a sense of obligation to expose the mechanisms behind the mass killing of Palestinian civilians. Their commitment to documentary truth is evident in the meticulous sourcing and the film’s unflinching presentation of sensitive material.
NAZA’s release coincided with the Israeli pavilion’s closure at the Venice Biennale, which remained shut until a ceasefire was secured. The timing added a layer of geopolitical relevance, as the film’s themes mirrored the broader international discourse surrounding the conflict and the role of cultural institutions in reflecting or refraining from participation.
Today NAZA continues its run at Venice and will travel to New York, sparking debate over the role of Israeli filmmakers documenting their own nation’s military actions. While no award decisions have yet been announced, the documentary’s reception has sparked discussions among international audiences and policy makers, though its long‑term impact remains to be seen.
Directed by Yuval Abraham and Rachel Szor, NAZA arrived in Venice as a late entry but quickly earned a prominent slot in the 64th New York Film Festival’s main slate. The Guardian, the film’s producer, announced a worldwide premiere in partnership with Venice on August 24, 2026, and confirmed its place in the September 25–October 12 NYFF schedule, signaling a coordinated international launch.
Venice’s main competition is one of the world’s most prestigious film arenas, and a selection signals strong international interest. Competing for the Golden Lion, NAZA joins a roster of titles that challenge audiences and critics alike, positioning the documentary at the forefront of the festival’s cinematic conversation.
The film also contests the top prize in NYFF’s main slate, a rare dual‑festival bid that highlights its relevance across continents. NYFF’s inclusion reflects the festival’s commitment to showcasing works that confront complex geopolitical narratives and encourages a broader dialogue among North American viewers.
At its core, NAZA delves into the Gaza conflict, presenting the voices of 24 Israeli intelligence officers and soldiers—whose identities are protected by voice alteration—to reveal the systems Israeli forces use to target civilians. The documentary exposes the mechanics behind military decision‑making, offering an insider perspective that is both rare and consequential for international audiences.
The title NAZA is an acronym employed euphemistically by Israeli intelligence to denote the expected number of civilian casualties in an airstrike. By foregrounding this terminology, the film draws attention to the clinical calculations that underpin military operations, inviting viewers to confront the human cost embedded in strategic planning.
Many of the revelations showcased in NAZA first appeared in Guardian reports published in collaboration with +972 Magazine and Local Call during the months following the October 7 attacks. These investigative pieces laid the groundwork for the documentary’s narrative, providing primary sources that the filmmakers drew upon to construct a comprehensive account.
The filmmakers, who previously co‑directed the Oscar‑winning 2024 documentary No Other Land, said their work was driven by a sense of obligation to expose the mechanisms behind the mass killing of Palestinian civilians. Their commitment to documentary truth is evident in the meticulous sourcing and the film’s unflinching presentation of sensitive material.
NAZA’s release coincided with the Israeli pavilion’s closure at the Venice Biennale, which remained shut until a ceasefire was secured. The timing added a layer of geopolitical relevance, as the film’s themes mirrored the broader international discourse surrounding the conflict and the role of cultural institutions in reflecting or refraining from participation.
Today NAZA continues its run at Venice and will travel to New York, sparking debate over the role of Israeli filmmakers documenting their own nation’s military actions. While no award decisions have yet been announced, the documentary’s reception has sparked discussions among international audiences and policy makers, though its long‑term impact remains to be seen.
