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  • Actor - Benjamin Netanyahu, Tareq Barghout
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  • reviews - Advocate is a movie starring Hanan Ashrawi, Tareq Barghout, and Avigdor Feldman. A look at the life and work of Jewish-Israeli lawyer Lea Tsemel who has represented political prisoners for nearly 50 years


Netanyahu already said its fake news. 🙏🏼 I accepted as UN call both Israel and Palestine territory to protect children and all everyone to sustain Peaceful. Please dont take violence to justify each others. At times of changed, lets go with Forgiveness. Please live side by side and kindness with Language Laws to each one. Thank you 😊 🙏🏼. Zionist terror must be stopped. Lea Tsemel is one of the few reasons that makes you proud to be an Israeli. Another point to make is that BDS isn't working. Excluding oil, natural gas and metals, Israel exports more than Russia, with 1/15th the people. I love CAPITALISM. I want a WW3. I am really tired of watching humans torturing earth and its species.

Lea tsemel anwältin freestyle. No, she is nothing but a hypocrite and a Jew hater, and we have many of her kind around the Glob, some of these kind of people R in for money, that R given to their so called organization, from the fakestinians and the far left, and some like to tell lies and what the inept world want to hear and not the truth, in order to make a name for themselves. Wake up world! Israel and the US are the two villains in this long running movie.

Israel palastein issues. World hope peaceful settlements. Democracy now is one of the best news in the world. But about this clip, i should say it's too hard for me to believe z~i~o~s. Because their government made a bad name for all of them. People around the world can't believe them anymore because they have a leader like satanyahu. All of their leaders have kept killing innocent people and they've bullied everybody, Since ww2 till right now. Even here in US, u can see soros supporting democrats and sheldon supporting republicans. Its been decades they've played dirty games with american people. Besides, they own all famous US medias included cnn, fox news, cbs, nbc, msnbc and abc.

Israel is an occupying force and should be see as one

Lea tsemel 2c anw c3 a4 latin free trial. Lea Tsemel, Anwältin free. Lea Tsemel, Anwältin free download. Lea Tsemel, AnwÃltin. SO CALLED GRATE POWERS AFRAID OF A WOMEN TALKING THE TRUTH. 😂😂😂. Same old, same old and nothing changes, the killing and the theft carry on. Respect Hard. So now people blame Israel for trying to stop people from killing themselves? what will be next? suing us for being too good looking. Lea Tsemel, Anwältin freedom. Lea tsemel 2c anw c3 latin free download. Lea Tsemel, AnwÃltin free software.

✡ Long Live Zion ✡. Thank you. Leah Tsemel Leah Tsemel (2019) Born 1945 Haifa Nationality Israeli Occupation lawyer Awards Liberty, Equality, Fraternity award, Hans Litten prize Leah Tsemel, or Lea Tsemel ( Hebrew: לאה צמל, born 19 June 1945) is an Israeli lawyer known for her work in support of Palestinian rights. [1] [2] She defines her career as one involving “everything [that occurs] between the Palestinians and the authorities". [3] Her five decades of representing Palestinian defendants in the Israeli court system is the subject of the documentary film Advocate, which came out in 2019. Biography [ edit] Tsemel was born in Haifa, Mandate Palestine in 1945. [2] Her parents, who made aliyah in the 1930s, came from Belarus and Poland, and her father was an engineer. [3] She studied law at Hebrew University in the late 1960s. [4] She is married to anti-Zionist activist Michel Warschawski, and they have two children, Nissan and Talila and seven grandchildren. [3] [5] Legal work [ edit] In 1971, Tsemel became an apprentice to human rights lawyer Felicia Langer. [4] Tsemel represented activist Ezra Nawi. [6] An Israeli settler claimed Nawi hindered the settler from filming Nawi's assistance of Palestinians, and Nawi was convicted and fined. [6] On appeal, Tsemel successfully argued that the area the Palestinians were farming did not belong to the settler. [6] Nawi's conviction was overturned. [6] Tsemel represented student Salah Hamouri after he was indicted on two counts: for planning to assassinate rabbi Ovadia Yosef and for being a member of the Popular Front for the Liberation of Palestine. [7] She advised Hamouri to plead guilty to the latter in exchange for a lighter sentence. [7] Tsemel is "nondiscriminating about her clientele... whoever they might be and whatever charges they might face" [4] and is known for defending suicide bombers. [8] Activism [ edit] Tsemel criticized Camp 1391, an Israel Defense Forces prison camp for high-risk prisoners in northern Israel, [9] stating, "anyone entering the prison can be made to disappear, potentially forever, it's no different from the jails run by tinpot South American dictators. " [10] Tsemel was a participant in the Russell Tribunal on Palestine. [11] She was a candidate for the Joint List in the 2015 general election. Tsemel’s career as an Israeli human-rights lawyer defending Palestinians is the subject of the 2019 documentary, Advocate, directed by Rachel Leah Jones and Philippe Bellaïche. [12] [13] Awards [ edit] Tsemel, together with Palestinian lawyer Raji Sourani, received the 1996 "Liberty, Equality, Fraternity" award, [14] the highest human rights award granted by the government of France. [2] [15] Tsemel, together with Palestinian advocate Mohammad Na'amneh, received the 2004 Hans Litten prize from the European Association of Lawyers for Democracy and World Human Rights. [16] References [ edit] ^ Ciotti, Paul (April 27, 1988). "Israeli roots, Palestinian clients: Taking the Arab cause to court has earned Jewish lawyer Lea Tsemel the wrath of her countrymen" Los Angeles Times Retrieved on February 2, 2014. ^ a b c American Friends Service Committee (March 30, 2010). Leah Tsemel Retrieved on February 2, 2014. ^ a b c Ravit Hecht, 'The Israeli Lawyer Who Defends the Most Violent Fighters Against the Occupation, ' Haaretz 25 May 2019 ^ a b c Hajjar, Lisa (2005). Courting conflict: The Israeli military court system in the West Bank and Gaza, pp. 168-69. University of California Press, Berkeley. ISBN   0520241932 ^ Salokar, Rebecca Mae and Volcansek, Mary L. (1996). Women in law: A bio-bibliographical sourcebook, pp. 313-20. Greenwood Press, Westport. ISBN   9781567509144 ^ a b c d Haaretz (22 December 2005). A humble house in the hills Haaretz Retrieved on February 2, 2014. ^ a b Ben-Ami, Nina (December 23, 2008). Affaire Salah Hamouri: la réponse de l'ambassade d'Israël, Le Nouvel Observateur. Retrieved on February 2, 2014. ^ Berg, Raffi (July 24, 2003). The Israeli who defends suicide bombers BBC News Online Retrieved on February 2, 2014. ^ BBC News (December 2, 2003). Israel court lifts prison secrecy BBC News Retrieved on February 2, 2014 ^ Cook, Jonathan. Facility 1391: Israel's Guantanamo, Le Monde diplomatique (November 2003), reprinted Archived 2006-08-06 at the Wayback Machine in CounterPunch (12 November 2003) Retrieved on February 2, 2014. ^ Russell Tribunal on Palestine (November 2011). Lea Tsemel Retrieved on February 2, 2014. ^ "Rachel Leah Jones, Lea Tsemel • Director and protagonist of Advocate". Cineuropa - the best of european cinema. Retrieved 2019-06-18. ^ Stern, Itay (2019-05-30). "Documentary on Israeli Lawyer Who Defends Palestinians Wins at DocAviv Festival". Haaretz. Retrieved 2019-06-18. ^ Commission nationale consultative des droits de l'homme, Prix des droits de l'homme Retrieved on February 2, 2014. ^ Palestinian Centre for Human Rights (December 7, 1996). Palestinian centre for human rights wins France’s highest award for human rights endeavours. Retrieved on February 2, 2014. ^ European Association of Lawyers for Democracy and World Human Rights (February 5, 2005). European Association of Lawyers for Democracy and World Human Rights awards HANS-LITTEN-PRICE to Lea Tsemel and Mohammad Na'amneh Retrieved on February 2, 2014. External links [ edit] “Advocate”: Israeli Attorney Lea Tsemel Reflects on Defending Palestinians Who Resist Occupation, Democracy Now, June 14, 2019.

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We are all Palestinians now. Lea tsemel 2c anw c3 a4 latin free games. Sharing, Justice and Peace for All. An interview with the director of Advocate, the Oscar-shortlisted film about the Israeli lawyer dedicated to defending Palestinians. “ I ’m an Israeli occupier no matter what I do. I enjoy the ‘fruits’ of the occupation, both bitter and sweet. And despite my moral obligation as an Israeli, I didn’t manage to change the regime and its policies. On what moral grounds should I judge the people who resist my occupation? ” So says Jewish Israeli attorney Lea Tsemel as she explains her life’s work defending Palestinian clients—many of whom most Israelis consider to be terrorists—in the documentary film Advocate. Directed by Rachel Leah Jones and Philippe Bellaïche, both Israeli citizens, the film is one of 15 documentaries shortlisted for an Oscar nomination—quite an achievement for a film that humanizes Palestinians caught up in Israel’s criminal justice system for resisting Israeli occupation, both nonviolently and violently. The film follows Tsemel’s work on two recent court cases involving Palestinian residents of East Jerusalem who were charged with committing violent acts against Israelis, and is interwoven with archival footage of Tsemel’s past cases as well as interviews with her two children; Palestinian leader and activist Hanan Ashrawi; and her husband, Michel Warschawski. Warschawski, a well-known anti-Zionist activist, himself became one of Tsemel’s clients after being arrested in 1987 for publishing a know-your-rights booklet edited by students with ties to the Popular Front for the Liberation of Palestine. When he complained to her about the punishing interrogation tactics, he recalls in the film, she told him he wasn’t worthy of being her husband. Fearless, tough, and powerfully charismatic, Tsemel is a familiar character—what she herself has described as “a typical Israeli, Sabra, if you want”—but with a crucial twist: The 74-year-old, who is fluent in Arabic as well as Hebrew, deploys her uncompromising fierceness in the service of fighting the system. In 1999, she was part of a team of lawyers that argued—and won—a landmark case before the Israeli Supreme Court barring torture of Palestinians in interrogations. While many of her cases haven’t led to such decisive victories, including the two cases profiled in Advocate, she nonetheless keeps arguing, keeps fighting. Says Jones, the film’s director, during a recent chat with The Nation: “I was making the film to remind myself what it meant to be critical, principled, what it could look like. And Lea models that probably better than anyone else. ” Mairav Zonszein: How did you come to meet and get to know Lea Tsemel? Rachel Leah Jones: I grew up in Israel, all of my elementary school, and then we moved back to the States. I came into young adulthood during the First Intifada and became critical of Israel politically, but didn’t know how that reconciled with my Israeli inner child. I did my third year of college in Israel-Palestine in 1991 to ’92, and I met people like Michel [Lea’s husband] and Lea. They helped me re-locate myself and understand how to be both Israeli and live there and be critical. They played a formative role for me and modeled that you can love the people, love the land, and yet you don’t have to love the regime. A lot of people understand, even on the far right, that people like Lea and Michel are incredibly invested. They are reaching different conclusions, but they care, and that matters in Israeli society. They are concerned citizens. And that “caring” has informed the potent response to the film in Israel over the last year and how people deal with Lea on the job. A lot of people she deals with daily, she has nothing in common with ideologically—and they adore her. As much as she is a woman they love to hate, she is also the woman they hate to love. MZ: Why did you decide to tell this particular story, and what did you hope to achieve by telling it? RLJ: I made the film together with Philippe Bellaïche, who is my partner in life and in this project. We didn’t have the exact same motivations when we got started. As a cameraperson, he really wanted to not talk about what she does so much as look at how she does it. We understand the what but how does that actually translate in life, in practice? He didn’t have a target audience that was sociologically or political defined. I think quite early on I understood I was probably making this film for myself more than anyone else. I didn’t feel like I stood any chance of converting anybody through the film, even though that has proven to be untrue—not converting but influencing, for sure. After the 2015 [Israeli] election, when we started this project, it was the first time I wasn’t 100 percent comfortable being who I am. For me, as both an American and Israeli Jew, the most comfortable place to be critical of Israel had always been in Israel. But that shifted for me, personally. I was making the film to remind myself what it meant to be critical, principled, what it could look like. And Lea models that probably better than anyone else. MZ: In the film, Tsemel’s son talks about a time she was verbally threatened on the street. But the film doesn’t really devote any time to the personal toll this line of work takes on her. She seems undaunted. But there must be a personal emotional toll. Did you choose not to portray that or were you simply not exposed to it? RLJ: Lea deals with people who are victimized so totally and brutally that her own version of being a target of assault pales in comparison. She always insists, “I never suffered. This is what I want to be doing. I am one of the freest people I know. I don’t experience alienation. ” Lea is wired that way—to live her life in a sociopolitical maze and obstacle course. She is living her own version of some kind of survivor reality show quite happily. MZ: So how did Lea feel about the movie being done about her? RLJ: She makes changing the world look fun. She doesn’t shy from exposure, but she’s also not concerned about how she will be portrayed. She’s not here to please. She doesn’t have an ego that needs to be reinforced through credit. But she loves life and the world and all of its wackiness, and she loves to show it to other people, to take people along for the ride. And she doesn’t shy away from her faults. She watched a film that documents a trial that was a total loss. And she’s OK with that, with how she comes across. All she said after she saw the rough cut was, “But why so many wrinkles? ” I really appreciate her, with her faults. People have asked in Q&As what surprised me about her, even knowing her as well as I do. It is her “ism”—her “ism” is human- ism. It’s really simple. She doesn’t just believe in the humanity of her clients and the people she advocates for, she sees the humanity of all her adversaries too—judges, prosecutors, interrogators, who by and large don’t share her worldview at all. She believes all the people who make up the system are people. And they are human beings, and she has the capacity to reach them. Her belief in the system is her belief in people, period. By believing she can get them to see the humanity of her clients, she is also recognizing their humanity. MZ: How is the film funded? RLJ: Our first money was Israeli private money, from the HOT8 cable documentary channel. At first, we got rejected from Israeli film funds and we thought, “OK, this is the new normal, let’s not expect to see public Israeli money, for better or worse. ” Then we tried to fundraise outside the country and by the time we finished the film, we had 10 broadcasters, two co-producers, and several film funds—including Sundance and the Bertha Foundation —on board. Toward the end of filming, we applied and got production funding from the Makor Foundation for Israeli Film and a post-production grant from the Israel Lottery Council for Culture and Arts post-production grant. So, we finally did finish the film with Israeli public funding. Our position was: We are tax-paying citizens, it is within our civil rights to have access to this money. It is not our job to censor them—they would have to censor us. We must delineate the difference between government funding and public funding. We’re not part of the government, but we’re part of the public, and that funding is earmarked for the public. Lea Tsemel, who is working in a legal system that is fundamentally flawed, echoes that way of thinking better than anyone. She takes every case saying, “So long as the system exists, we need to maximize what we can get out of it. ” In many senses, Lea is more of a reformist than she is a revolutionary. MZ: How has its reception been in Palestinian society? RLJ: Incredible. There’s an incredible amount of appreciation for Lea and her work and the role she has played for Palestinians over the years as an ally. So far, it has screened in East Jerusalem in a private screening and there is a lot of interest in screening the film elsewhere in the West Bank, and plans are underway. We screened privately to all the family members and all the Palestinian legal staff and their families, and everyone was moved and pained and grateful that they had been portrayed with dignity, as the hurting people between a rock and a hard place that they are. MZ: What kind of Israeli pushback has there been? RLJ: We premiered internationally at Sundance last January. We didn’t screen in Israel until late May at the Docaviv International Documentary Film Festival. Before the festival [opened], we had three screenings [scheduled]. They all sold out, so they added a fourth. It sold out. They added a fifth after we won the festival, it too sold out. Over the course of one week, roughly 2, 000 Israeli Jews saw the film. There were standing ovations. But then a week later [Culture Minister Miri] Regev came out against it with the usual: “I haven’t seen it and won’t see it but I still know what I think about it. I’m appalled a film like this was even made let alone with public funding. ” It was demonizing, witch-hunting rhetoric, which gave a platform to right-wing vigilante groups like Im Tirtzu to protest the award and the Israel Lottery Council for Culture and Arts folded really fast. [ The council announced it was suspending the prize money for future films and would put Advocate ’s grant under legal review. ] But that gave rise to the most incredible backlash I’ve seen in the last four, five years, [with] the arts community saying enough is enough. The Israel Lottery is basically the biggest arts funder in Israel, and people went so far as to give back grants unspent, along the lines of “it’s either all of us or none of us. ” The solidarity was outstanding. It was beautiful. It felt like people were saying enough is enough. People were saying, “If this is the new normal, we will push back. ” Three months later, the grant was reinstated. There have also been some attempts to go after Lea through the Ministry of Justice, to examine the “legality” of her contract work for the Public Defender’s Office. But the chief public defender has said they have no intention of reexamining her employment. She works for her defendants, she doesn’t work for the government. [ Tsemel is a private-sector lawyer with her own firm who handles cases either privately or on contract through the Public Defender’s Office. ] MZ: To me part of the importance of this film is documenting and archiving the generation of Israelis who remember what it was like before occupation. Do you think her work is becoming more accepted in Israeli society, the notion that Jews and Palestinians need to have equal rights? RLJ: Michel, her husband, when he is describing Lea’s first case, the 1972 trial [of Jews involved in an Arab-Jewish underground], says that the message then was rather simple and today it sounds trivial. “There’s an occupation, there are Palestinians. They have rights. At the time, it sounded revolutionary; today it sounds banal. ” Well—unfortunately, it sounds revolutionary again. When we were looking for archival footage of Lea’s life and work, there’s almost nothing in the ’70s, there’s a little bit in the ’80s, there’s a ton in the ’90s. And then she disappears again. It was a really strong and painful indication of the place that Israeli society has afforded her and what she has stood for in the public sphere. And then she shows up 20 years later in this movie, which is screened on Israeli TV—and all of a sudden we’re entering our fifth month in the cinematheque. Two or three screenings a week for five months! Constantly getting invitations to screen in community centers all around the country, including the Sderot Cinematheque—so not exclusively lefty, Ashkenazi circles. Does it mean things are looking good or better? I doubt it. The jury is still out on whose version of history—meaning the future—is right. I would sum up this year by saying that the solidarity and the interest and openness has been 10 times more potent and noticeable for us than all the censorship and the rabid discourse that came with it. MZ: The last time Israeli documentaries were up for an Oscar was in 2013, when both 5 Broken Cameras and The Gatekeepers were nominated, the former an anti-occupation film. Do you see your film as an anti-occupation film? How does your film stand apart from other political Israeli films that have challenged the status quo? RLJ: I would like to think it goes beyond Israel-Palestine, in that Lea spoke truth to power before the term became trendy and will continue to do so before fear makes it unfashionable. She is a model of engaged citizenship that we’re lacking in this day and age, and a model we’d like to see replicated in Israel-Palestine but also elsewhere. The film clearly has to do with Israel-Palestine but it also has to do with being that kind of person and that kind woman in the world. And doing it decade after decade. The one thing I learned from making this film is that there is no “end. ” There is no better world we will arrive at one day. It doesn’t exist. The 21st century is a monster curveball for those of us who came into critical consciousness in the 20th century. And Lea is living proof that there is no end, but there’s means. You’ll never come close to that “better place” without getting up every morning and going through the motions and doing the work. She models that. There is nothing armchair about her. You don’t sit and wait for that better world. You go out and fight the good fight. If there’s any chance of a slightly better version of the world it’s only because you get up and go practice the means. It’s not an action plan, it’s just action.

BISMILAHIROHMANNIROHIM. KESELAMATAN HANYA UNTUK ORANG - ORANG YANG MENGIKUTI PETUNJUK ALLAH... ALLAHUMMA SHURR MUJAHIDINNA FI PALESTINE ALLA YAHUDI GHOSIDIN. AAMIIN YAA RABB. The actions of a couple of members of the Knesset is no more representative of Israel than AOC and her ilk are representative of the entire United States. Lea Tsemel, Anwältin freelance. Absolutely.

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At least some Israelis are not brainwashed jingoists

Lea Tsemel, AnwÃltin free download. Ever heard of the saying, You treat the beast like a beast? Exactly, Israel is doing that to the Palestinians. Because someone on the Palestinians didn't think, Let's make peace.


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She's an absolutely brave woman with integrity. Lea Tsemel, Anwältin free web. Let Arabs take control of Israel and see what happens to her. very foolish. Lea Tsemel, AnwÃltin free online. Lea tsemel 2c anw c3 latin free pdf. Lea tsemel 2c anw c3 a4 latin free t4. I am with israel. Lea Tsemel, AnwÃltin free web. Thank you for standing up for people. When you represent Palestinian clients who have little hope in the face of the Israeli courts, you end up representing more than just the hopes of the people of Palestine. You end up doing representing hope in the hearts and minds of the people of Israel, and further in those of people all over the world.

Lea Tsemel, Anwältin freewater. Geez. i hope she doesnt die under mysterious circumstances. The likes of her are far and few in between.

  1. Published by: Nora Lee Mandel
  2. Resume: Film critic; Member, NY Film Critics Online and Alliance of Women Film Journalists; authentic Jewish mother monitoring the image of Jewish women in movies & TV



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