Hollywood is once again at the heart of a fierce debate—this time over the war in Gaza and the role of cultural institutions in the conflict. In a development that’s sent ripples through the global entertainment industry, more than 1,200 actors, directors, and industry leaders have signed a new open letter rejecting calls to boycott Israeli film institutions accused of "whitewashing or justifying genocide and apartheid." The letter, released on September 25, 2025, by the groups Creative Community For Peace and The Brigade, represents a forceful response to an earlier pledge signed by over 8,000 figures—including some of Hollywood’s brightest stars—who vowed to cut ties with Israeli film festivals and production companies they deem "implicated in genocide."
The counter-letter’s signatories include high-profile names like Liev Schreiber, Mayim Bialik, and Sharon Osbourne, as well as industry heavyweights such as Paramount Global chair Shari Redstone, Mattel CEO Ynon Kreiz, and FOX Entertainment Global CEO Fernando Szew. According to AFP, the letter was crafted to challenge what its authors see as a dangerous and discriminatory movement sweeping through the entertainment world. "We cannot stay silent when a story is turned into a weapon, when lies are dressed up as justice, and when artists are misled into amplifying antisemitic propaganda," the letter states, directly referencing the boycott campaign led by Film Workers for Palestine.
The origins of this latest Hollywood rift trace back to September 8, when Film Workers for Palestine published an open letter that quickly garnered thousands of signatures, including those of Emma Stone, Joaquin Phoenix, Mark Ruffalo, Javier Bardem, Olivia Colman, and Susan Sarandon. Their pledge called for a boycott of Israeli institutions they say are "complicit in genocide," defining complicity as "whitewashing or justifying genocide and apartheid, and/or partnering with the government committing them." The campaign seeks to emulate the cultural boycott of apartheid-era South Africa, aiming to pressure Israel over its military campaign in Gaza.
But the counter-letter, which has gained momentum among both creative and executive ranks, offers a starkly different perspective. "Israeli film institutions are not government entities. They are often the loudest critics of government policy," it asserts, pushing back against the notion that these organizations serve as mouthpieces for the state. The letter frames the boycott as a form of "collective punishment" that stifles dissent and undermines the very voices that might foster dialogue and peace. "We call on all our colleagues in the entertainment industry to reject this discriminatory and antisemitic boycott call that only adds another roadblock on the path to peace," the authors urge.
The counter-letter’s argument hinges on the belief that cultural boycotts, rather than advancing peace, risk deepening divisions and silencing those most capable of building bridges between communities. It also questions the logic and morality of determining which institutions should be targeted for boycott, warning of the dangers of guilt by association. "If you want peace, call for the immediate release of the remaining hostages in Gaza. Support filmmakers who create dialogue across communities. Stand against Hamas," the letter continues, pivoting the conversation toward the ongoing hostage crisis and the need for cross-cultural engagement.
Supporters of the counter-letter are quick to point out that Israeli film institutions have historically provided platforms for dissent and criticism of government actions. As Bruce Resnikoff, CEO of Universal Music, and Fernando Szew, CEO of FOX Entertainment Global, note in their endorsement, "Silencing artists based on nationality does not promote peace. We need more engagement and communication—not less." Paramount Studios echoed this sentiment, stating that the boycott "advocates for censorship and erases dissenting Israeli voices."
Yet, the backlash from boycott supporters has been equally forceful. Filmmakers for Palestine dismissed the counter-letter as "thinly veiled anti-Palestinian racism," insisting that their campaign is not aimed at individual Israeli artists but at institutions they say are complicit in war crimes. They argue that the cultural boycott is a necessary tool to hold Israel accountable for actions in Gaza, where, according to UN-mandated investigators, the ongoing siege has been described as a genocidal effort to "destroy the Palestinians."
The divide is not just about the specifics of the Gaza conflict; it’s about the broader role of art and culture in times of war and atrocity. Should cultural institutions be seen as neutral ground, or are they inevitably part of the political machinery? That’s the question now roiling Hollywood, with both sides claiming the moral high ground. While the boycott movement has attracted some of the industry’s biggest stars, the rejection letter has drawn support from powerful behind-the-scenes players—suggesting a widening rift not just about politics, but about who gets to shape the industry’s response.
For some, the debate is a matter of principle. "We cannot allow misinformation to advocate for censorship and erase dissenting Israeli voices," the counter-letter insists. For others, it’s a question of accountability and solidarity with Palestinians facing what they describe as existential threats. The boycott’s backers maintain that their actions are modeled on successful campaigns against apartheid South Africa, which, they argue, helped bring about meaningful political change through international pressure.
As the controversy continues to simmer, the entertainment world finds itself grappling with difficult questions about complicity, responsibility, and the limits of free expression. The sheer size and diversity of both the boycott and counter-boycott efforts suggest that this is no passing squabble, but a reflection of deeper divisions within Hollywood—and, indeed, within Western culture at large—over how to engage with one of the world’s most intractable conflicts.
For now, the letters—each with their own long list of signatories—stand as public declarations in a battle for hearts, minds, and cultural legitimacy. Whether they will change the course of events in Gaza or reshape the future of artistic collaboration remains to be seen. But one thing is clear: in Hollywood, as in so many places, the war in Gaza is no longer just a distant headline—it’s a deeply personal and contentious issue, echoing through the halls of power, the red carpets, and the creative studios of the world’s most influential storytellers.
