On Oct. 7, 2023, Hamas executed the deadliest attack on Jews since the Holocaust. Among the victims in this onslaught was retired Israeli Maj. Gen. Noam Tibon, whose family was caught in the violence at Kibbutz Nahal Oz. Learning that terrorists had reached his home, he drove south, rescuing survivors along the way and ultimately saving his family. His story is detailed in the documentary ‘The Road Between Us: The Ultimate Rescue,’ directed by Canadian filmmaker Barry Avrich.
TIFF originally included the film in its 2025 lineup but pulled it just weeks before opening night. Festival organizers cited unresolved legal issues, including footage from Hamas’ own livestreams, and the risk of protests. The Associated Press reported that TIFF claimed filmmakers had not met certain conditions, denying any censorship involvement. However, critics argued that the decision represented a form of censorship, giving Hamas, a designated terrorist group, the power to determine how its crimes were portrayed.
The backlash was swift, with critics emphasizing the absurdity of citing copyright for terrorist content as justification for such acts. The New York Post highlighted that the claimed copyright concerns over Hamas footage were not just illogical but could be seen as justifying terrorist actions. The Auschwitz Jewish Center Foundation further warned that the festival’s move effectively allowed Hamas to claim copyright over its war crimes.
Within 24 hours, TIFF reversed its decision. CEO Cameron Bailey and Avrich issued a joint statement confirming the film would screen after all. Bailey admitted the communication was unclear, but claimed censorship accusations were false. Nevertheless, communication records suggested otherwise. The reversal, though welcomed, underscored the initial decision’s impact on survivors, who felt their testimony was being erased in a crucial cultural forum.
The incident goes beyond one film. It reflects a broader struggle for cultural institutions to balance controversy with artistic freedom. If fear of protests or legal challenges leads to the exclusion of Jewish or Israeli narratives, the precedent sets a dangerous tone, suggesting such stories are expendable. As international film festivals like Venice, Telluride, TIFF, and Busan approach, the choice between protecting difficult narratives or retreating from controversy becomes increasingly urgent.
TIFF’s reversal was ultimately correct, but it should not take global outcry to ensure Jewish voices are heard. Festivals must implement policies to safeguard artistic freedom and prevent extremists from dictating what audiences see. ‘The Road Between Us’ is not just a film; it is a testament to resilience in the face of terror. Cultural institutions worldwide must recognize that silencing victims, even briefly, is unacceptable. They must uphold the role of culture as a tool for truth, even when it is painful.