In a dramatic show of unity, more than 1,200 prominent figures from the entertainment industry—including actors Liev Schreiber, Mayim Bialik, Debra Messing, and Gene Simmons—have signed an open letter denouncing the recent call to boycott Israeli film institutions over the ongoing war in Gaza. Released on September 25, 2025, by the nonprofit organizations Creative Community for Peace and The Brigade, the letter is a direct rebuke to a boycott pledge circulated earlier this month by nearly 4,000 industry professionals, among them Oscar-winners Emma Stone and Joaquin Phoenix, who vowed to refuse collaboration with Israeli institutions allegedly implicated in genocide and apartheid against the Palestinian people.
The open letter, which gathered support from a wide array of entertainment leaders including Sharon Osbourne, Greg Berlanti, Jerry O’Connell, Howie Mandel, Jennifer Jason Leigh, Lisa Edelstein, Erin Foster, Anthony Edwards, Rebecca De Mornay, Sherry Lansing, and Haim Saban, accuses the boycott movement of spreading misinformation and promoting arbitrary censorship. The letter opens with a pointed declaration: “We know the power of film. We know the power of story. That is why 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.”
According to Variety, the letter goes on to characterize the boycott pledge—issued under the banner of Film Workers for Palestine—as “not an act of conscience,” but rather “a document of misinformation that advocates for arbitrary censorship and the erasure of art.” The signatories argue that targeting artists and institutions based solely on their country of origin is “wrong, ineffective, and a form of collective punishment.”
Debra Messing, in a statement accompanying the letter, minced no words: “When artists boycott fellow artists based solely on their country of origin, it is blatant discrimination and a betrayal of our role as storytellers. History shows us that boycotts against Jews have long been a tool of authoritarian regimes—by joining this effort, these artists are knowingly or unknowingly aligning themselves with a dark legacy of antisemitism.”
Mayim Bialik echoed this sentiment, emphasizing the unique role artists play in bridging divides: “Artists and creatives have a unique opportunity and responsibility to remind the world of our shared humanity. Boycotting filmmakers, studios, production companies and individuals simply because they are Israeli fuels division and contributes to a disturbing culture of marginalization. Additionally, this boycott pledge does nothing to end the war in Gaza, bring the hostages home, or help curb the alarming rise of antisemitism globally.”
The entertainment industry’s internal debate intensified after the initial boycott pledge—signed by Stone, Phoenix, Yorgos Lanthimos, Ava DuVernay, Adam McKay, Olivia Colman, Mark Ruffalo, and others—called for a refusal to engage with Israeli companies and institutions, whom they accused of complicity in violence against Palestinians. Yet, as the open letter’s authors point out, Israel’s film industry is far from monolithic or government-controlled. Instead, it is described as a “restless, argumentative, and independent” community where “directors challenge ministers and many of the very festivals you target, consistently program dissent.”
The controversy has also played out on the international festival circuit. At the Toronto International Film Festival (TIFF) in August 2025, the Israeli documentary The Road Between Us: The Ultimate Rescue was initially disinvited due to boycott pressure. However, after a public outcry, it was reinstated and ultimately won the People’s Choice Award—a development cited by open letter supporters as evidence that art can transcend political boundaries.
Rebecca De Mornay, another signatory, highlighted what she sees as a double standard: “Film institutions engage with countries all over the world, including those with serious controversies, yet Israel alone is singled out and condemned—for defending itself in a war it didn’t start, for trying to free hostages still being held, and for confronting an enemy still intent on its destruction. Boycotting Israeli film institutions isn’t a stand for justice, it’s a thinly veiled double-standard for Jews, and a hypocritical, unjust punishment of Israeli artists and films.”
Haim Saban, chairman and CEO of Saban Entertainment, stressed the importance of storytelling as a force for understanding: “Excluding Israeli filmmakers because of their identity betrays that mission and undermines efforts for peace. True progress comes when we listen to one another, Israelis and Palestinians alike, and allow art to open doors that politics too often close.”
Paramount Studios also weighed in, with chief communications officer Melissa Zukerman stating on September 12, 2025: “We do not agree with recent efforts to boycott Israeli filmmakers. Silencing individual creative artists based on their nationality does not promote better understanding or advance the cause of peace. The global entertainment industry should be encouraging artists to tell their stories and share their ideas with audiences throughout the world. We need more engagement and communication—not less.”
The open letter’s release coincides with what many describe as a surge in antisemitism and increased censorship of Israeli culture worldwide. Ari Ingel, executive director of Creative Community for Peace, took aim at the Boycott, Divestment, and Sanctions (BDS) movement, arguing that it is “a political movement that seeks the defamation, delegitimization, and eventual elimination of the State of Israel.” Ingel also called out what he described as misinformation in the boycott pledge, specifically the claim that the International Court of Justice ruled there was a plausible risk of genocide in Gaza, which he said was inaccurate.
Ingel further described Israel’s film and television industry as a “vibrant hub of collaboration between Jewish and Palestinian artists and filmmakers, who work closely together every single day to tell complex stories that entertain and inform both communities and the world.” He cited examples such as the award-winning series Our Boys, the Ophir Best Picture-winning The Sea—a film about a Palestinian boy’s journey to the Tel Aviv beach—and powerful documentaries like Dead Sea Guardians.
The letter also references the recent success of The Sea at Israel’s Ophir Awards, where it won Best Feature. Notably, the film, which tells a Palestinian story, was produced with support from the Israel Film Fund—a group specifically targeted by the boycott. In a controversial move, Israel’s sports and culture minister responded by vowing to cut funding from the Ophir Awards, further fueling debate about the intersection of culture, politics, and art.
As the letter concludes, its signatories urge the entertainment community to “reject this discriminatory and antisemitic boycott call that only adds another roadblock on the path to peace.” They argue that supporting artists who foster dialogue and coexistence is the true path forward, rather than exclusion and censorship.
While the debate is far from settled, one thing is clear: the entertainment world is grappling with profound questions about artistic freedom, political activism, and the responsibilities of storytellers in a time of conflict. The outcome of this debate may well shape the future of cultural exchange in an increasingly divided world.
