NAZA is a documentary built around a difficult question: what do anonymous Israeli military insiders say about the systems used to select targets and account for civilian deaths in Gaza—and how should viewers judge those accounts? Pat Mullen’s review for POV Magazine finds the testimony gripping and historically important, while noting criticism that the film does not sufficiently show how its claims were verified or contextualized. The film’s allegations and the IDF’s rebuttal remain contested; neither is a judicial finding.
What is NAZA about?
Directed by Yuval Abraham and Rachel Szor, NAZA is an 80-minute, Hebrew- and English-language documentary in the 2026 Venice Film Festival’s Venezia 83 competition. La Biennale di Venezia lists The Guardian and JW Films as producers. Its official synopsis describes a film shot at night on Tel Aviv rooftops that investigates systems behind civilian deaths in Gaza, using the festival’s own framing of those deaths as calculated mass killing. That is the festival’s description and the film’s subject—not a court’s legal conclusion. La Biennale di Venezia’s film listing
The directors’ Venice statement says they made the film from a sense of obligation to examine, as Israelis, the systems behind Palestinian civilian deaths. It also says many revelations were published as they were learned by The Guardian in collaboration with +972 Magazine and Local Call. That explains the filmmakers’ purpose and reporting lineage; it does not independently verify every account in the finished film. The directors’ statement at Venice
What does the film’s testimony claim?
The Associated Press reports that 24 Israeli military insiders—including intelligence officers and soldiers—appear in the film, with identities concealed and voices and appearances digitally altered. AP says the interviews were filmed secretly on Tel Aviv rooftops over three years. The film’s central method is to make viewers hear people describing processes they say they encountered from within the military, rather than relying only on public institutional statements. Associated Press report on the film
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In its account of the film, The Guardian describes anonymous personnel discussing AI, error rates and problematic intelligence units. Those are descriptions of testimony and reporting associated with this film; they should not be generalized to every Israeli military operation or treated as established facts about any particular strike without corroboration. The Guardian’s review
Why does Pat Mullen’s review find it compelling—and what does it question?
In POV Magazine, Pat Mullen describes the officers’ accounts as gripping yet mundane: the disturbing force comes partly from hearing consequential decisions discussed as routine processes. Mullen calls the documentary an important historical record. The review also recounts criticism from The Times of Israel that the film presents allegations as factual while omitting verification and context. That tension is central to assessing NAZA: access to people claiming insider knowledge can make a documentary valuable, but it does not remove the need to ask how claims were checked, what context is missing and how editing affects what viewers infer. Pat Mullen’s review in POV Magazine
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Anonymity: protection and a limit
Concealing interviewees’ identities may help people speak about sensitive or potentially risky experiences. It also makes independent scrutiny harder: viewers cannot readily assess a speaker’s role, access to a particular decision or basis of knowledge. The film’s edited testimony can raise urgent questions, but anonymity means viewers must distinguish what a source says from what the film independently demonstrates.
Editing and corroboration
A useful viewing question is whether a claim is supported by documents, separate reporting or other evidence shown or described—not only by an interviewee’s account. Consider what the film establishes directly, what it attributes to a source and what it asks the viewer to conclude. Mullen’s account of the Times of Israel criticism makes verification and context especially important questions; the criticism itself is not proof that the film is wrong.
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What is the IDF’s response?
In a public response dated October 1, 2026, the IDF Spokesperson called the film “distorted, misleading, and disingenuous.” The IDF argues that it relies on anonymous sources describing limited initial stages of a process, omits context and edits testimony manipulatively. These are the institution’s counterclaims, not an independent adjudication. They should be weighed alongside the film and its reporting, not treated as settling the dispute. The IDF’s October 1 response
For viewers, the disagreement suggests a practical standard: keep testimony, filmmakers’ interpretation, reported corroboration and the military’s official position separate. A documentary can preserve consequential testimony without every disputed claim becoming established fact. Likewise, an institution’s denial does not by itself disprove a source’s account.
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Does the film establish genocide?
No legal determination can be inferred from the material described here. BFI Sight and Sound says the film ultimately raises the question of genocide; that is a critic’s interpretation of the documentary’s implications. The title of Mullen’s review is also not itself a legal finding. A legal conclusion about genocide requires a separate analysis under the applicable law and evidence; the film’s anonymous testimony, its reviewers’ interpretations and the IDF’s rebuttal do not by themselves establish one. BFI Sight and Sound’s review
Where can you watch NAZA?
The Guardian and mk2 announced on September 24, 2026 that theatrical release would begin September 28 in more than 50 territories, with distributors secured in 56. Their announcement planned a free release on theguardian.com after the cinema run, targeted for late November. That was a forward-looking plan, not confirmation that the online film is available now; check the Guardian’s live film page for current status. The Guardian and mk2 release announcement
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Rotten Tomatoes currently lists the film as playing in theaters and links to Fandango ticket purchasing. Screenings vary by location and date, so check the listing for your area rather than assuming a local cinema has it. Rotten Tomatoes’ current listing
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