No Other Land—this so-called documentary by a Palestinian-Israeli collective—as nothing less than a venomous assault on the Jewish people’s rightful claim to our land. Released in 2024, this film, directed by Basel Adra, Hamdan Ballal, Yuval Abraham, and Rachel Szor, purports to show the "destruction" of Palestinian villages in Masafer Yatta by Israeli forces. It’s a propaganda piece dressed up as truth, a tool to slander Israel and undermine its existence. Let me tear apart the lies peddled by its creators and expose their distortions for what they are: an attack on the Jewish soul and our God-given destiny.

First, the film’s central premise—that Israel is unjustly displacing innocent Palestinians from Masafer Yatta—is a grotesque lie. The creators claim this area, in the West Bank, is being razed for a military training zone, painting Israel as a heartless oppressor. But let’s be clear: this land is part of Judea and Samaria, the biblical heartland of Israel, promised to the Jewish people by God Himself in Genesis 15:18-21. The Arabs living there are not indigenous owners but squatters on Jewish soil. Historically, they migrated into the region under Ottoman and British rule, long after Jewish presence was established. The film conveniently ignores that Masafer Yatta lies in Area C, under full Israeli control per the Oslo Accords—agreements the Arabs themselves signed. Israel has every legal and moral right to secure this territory for its defense. The creators cry about demolished homes, but these are illegal structures, built without permits, often as a deliberate provocation to encroach on Jewish land. To call this "displacement" is a lie; it’s law enforcement.

The film’s portrayal of Israeli soldiers as cruel enforcers is another fabrication I’d demolish. It shows bulldozers flattening homes, soldiers guarding the wreckage, and Palestinians weeping—cinematic manipulation to tug at naive hearts. But what’s the truth? Israel’s military is the shield of the Jewish people, protecting us from enemies who’ve sworn our destruction. The Arabs in Masafer Yatta aren’t peaceful villagers; many align with terror groups like Hamas, whose charter calls for Israel’s annihilation. The film omits this context—rocket attacks, stabbings, and intifadas launched from such areas. When Israel clears these zones, it’s not cruelty; it’s survival. The creators, especially Yuval Abraham, an Israeli Jew, betray their own people by siding with our foes. Abraham’s collaboration with Adra, a Palestinian activist, is a modern-day sin akin to the spies who doubted God’s promise in Numbers 13. They frame soldiers as villains, but I’d argue they’re heroes, fulfilling the mitzvah of defending Jewish life. Now, the funding of this film—Palestinian and Norwegian backing—reeks of an anti-Israel agenda. The creators don’t hide it’s a co-production between Palestine and Norway, a country that’s funneled millions to Palestinian causes, often linked to anti-Semitic rhetoric. Norway’s role in the Oslo Accords already showed its bias, pressuring Israel into concessions that weakened us. This film’s budget, though not fully disclosed, likely draws from similar wells—NGOs and Arab states hostile to Israel. The creators call it an "act of resistance," but I’d call it a Trojan horse, bankrolled to erode Jewish resolve. They claim it’s grassroots, but the polish of its Berlinale premiere and Oscar nod suggest deeper pockets. Where’s the money trail? They won’t say, because transparency would expose their masters.

The film’s title, No Other Land, is a mocking theft of Zionist truth. In Hebrew, Ein Eretz Acheret echoes Ehud Manor’s song of loyalty to Israel—"I have no other land." But here, it’s twisted to mourn a supposed Palestinian loss. This is a lie of identity. The Arabs have 22 nations; the Jews have one. To suggest Palestinians have no other land is to deny their own history—Jordan, carved from the British Mandate, was meant for them. Yet they reject it, fixated on stealing ours. The creators’ narrative—that Palestinians are rooted in Masafer Yatta—ignores their nomadic past and the fact that Jewish settlement predates theirs by millennia. Archaeology, from Hebron to Jerusalem, proves our claim. Their tears over "ancestral homes" are crocodile tears, staged for cameras.

Basel Adra’s role as the film’s "hero" is another deception I’d shred. He’s cast as a noble resistor, filming his village’s "plight" since age 15. But who is he really? An activist tied to the Palestinian struggle, likely schooled in the rhetoric of rejectionism—that Israel has no right to exist. The film hides his affiliations, but his actions scream agitator, not victim. He and his cohort use cameras as weapons, not tools of truth, staging scenes to inflame hatred. When they show a paralyzed cousin dying after an eviction, it’s meant to shock, but where’s the proof Israel caused it? Correlation isn’t causation. This is emotional blackmail, not evidence.

The film’s Israeli co-directors, Abraham and Szor, are the most contemptible liars. Jews who turn against their own are worse than external enemies—self-hating traitors who’d rather grovel for Gentile applause than stand with their people. Abraham whines about his reports not getting "traffic," as if his job is to pander, not defend Israel. Their "alliance" with Adra and Ballal isn’t noble; it’s a betrayal of Joshua’s command to conquer the land (Joshua 1:3). They peddle a both-sides fantasy, but there’s no equivalence. Israel is David; the Arabs are Goliath, backed by a world that’s hated Jews since Sinai. Their Oscar win proves my point: the nations reward those who vilify us.

Finally, the film’s claim to "humanize" Palestinians while demonizing Jews is its ugliest lie. It shows kids crying, families in caves—pure theater. But where’s the humanity of Jewish settlers, attacked by Arab mobs? Where’s the story of Jews expelled from Arab lands in 1948? The creators don’t care. Their lens is a rifle scope, aimed at Israel’s heart. I’d argue this isn’t just propaganda—it’s a call to dismantle the Jewish state, step by step. They don’t seek peace; they seek our surrender.

In my view, No Other Land is a cancer on truth. Its creators lie about history, law, and morality, twisting a divine narrative into a sob story for our enemies. I’d ban it, not because it’s persuasive, but because it’s a weapon in a war we can’t afford to lose. The Jewish people have one land, one destiny. This film dares to challenge that. Let it be cast into the dustbin of history, where all falsehoods belong.