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Repair Windows errors before they cause bigger problemsFix Now →Scan for outdated or missing drivers - takes under a minuteDriver Scan →Clear out junk files and repair common Windows errorsFree Scan →Holding Liat is a 2025 documentary about the Beinin family’s experience after Liat Beinin Atzili and her husband, Aviv, were taken hostage during the October 7, 2023 attack on their kibbutz. Director Brandon Kramer follows the family through uncertainty, public advocacy, political and personal disagreements, and the consequences of Liat’s return. It is an intimate family portrait that offers a lens on wider events—not a comprehensive history of the Israel-Gaza war.
What is Holding Liat about?
The film follows the Beinin family in the weeks after Liat and Aviv were taken hostage. Its focus is not only the effort to bring them home, but also the strain of waiting and the family’s different responses to a crisis unfolding in public. Liat’s father, Yehuda, resists using her captivity to justify escalating violence in Gaza, while family members try to navigate their grief, advocacy, and disagreements.
The International Documentary Association’s December 17, 2025 interview with director Brandon Kramer describes the film following Yehuda, Chaya, Tal, and Netta through uncertainty and advocacy, including a trip to Washington. Liat was released after 54 days; the family then learned that Aviv had been killed on October 7. The film’s story therefore changes after her return: the hostage crisis does not end the family’s loss or resolve its tensions.
AFI FEST describes Yehuda and Netta joining an NGO-sponsored delegation of hostage families in Washington, where Yehuda and others voiced a preference for negotiation and the safe return of hostages over escalation. These scenes place the family’s private experience alongside its encounters with media and politicians, without making the film a survey of all public opinion.
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1Clear out junk files and repair common Windows errors2Fix the driver behind crashes, sound loss and screen glitches3Repair Windows errors before they cause bigger problemsThat combination of home and public life helps explain the title’s intimate center. The story is not organized as a general chronology of the war; it stays with what the family can know, do, and argue about while Liat is missing and after she comes home. The film follows a crisis as it is lived by particular people, rather than offering a complete account of the events surrounding it.
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What perspective does the film take?
Holding Liat approaches the events through one family’s experience. The Berlinale Forum catalogue includes the director’s statement: “We are keenly aware that this film is just one family’s story”. That qualification matters: the film can show how one family argues, advocates, waits, and mourns, but it cannot stand in for every Israeli or Palestinian, every hostage family, or every dimension of the war.
Its perspective is also shaped by the filmmakers’ relationship with the family. The Kramers had known the Beinins for years and first contacted them as family friends after Liat and Aviv went missing and were presumed taken hostage. That prior connection helped make unusually close access possible. It also means the film should not be treated as neutral or unmediated observation: a filmmaker’s choices, relationships, and boundaries shape what is recorded and what viewers see.
The family’s political disagreements are part of this perspective rather than a detour from it. Yehuda’s opposition to escalation and preference for negotiation coexist with the family’s emotional uncertainty and differing views. The documentary offers a close account of those tensions; it does not claim to settle the political or historical questions surrounding the conflict.
This distinction is useful when considering what the film can and cannot tell a viewer. Its strength, as described in the production and festival materials, is access to one family’s experience: the different members’ responses, their advocacy, and the personal costs of waiting. It is not presented as a representative sample, a survey of public opinion, or a comprehensive history of the Israel-Gaza war. A viewer can learn how this family experienced an extraordinary period without treating that experience as a proxy for everyone affected by the conflict.
Nor does a family-centered point of view mean that political questions disappear. Yehuda’s position is part of the film’s story precisely because his advocacy takes place amid family relationships and a hostage crisis. The film can show the coexistence of political conviction, fear, grief, and disagreement; it need not resolve those tensions to make them legible. Readers looking for a broad account of the war should understand that this is a narrower documentary lens.
Rank #2
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How was Holding Liat filmed, and how did consent shape it?
The director’s prior relationship with the family created both access and responsibility, especially because Liat could not consent to filming while she was held captive. In the IDA interview, published December 17, 2025, Brandon Kramer described the approach this way: “This is somebody who was just taken against her will and had zero agency, and I’m going to give her 100 percent agency.”
That statement is a useful key to the film’s documentary approach. Access alone does not answer the ethical question of whether intimate footage should be used. The circumstances of captivity meant that Liat could not make an ordinary, contemporaneous choice about being filmed. Kramer’s account emphasizes that the filmmakers considered her later wishes and that recording could be limited, paused, or withheld. These are specific decisions the director described in an interview, not a universal checklist or a guarantee that every documentary handles consent in the same way.
Footage from the reunion
Kramer said the IDF told the filmmakers that cameras were not allowed at the reunion, but permitted a limited recording on a cell phone. He said that whether the footage would be used or erased would be Liat’s decision. In his words: “Whether that footage was used or erased would be up to Liat.” This is the director’s account of the filming process, not a general rule about access at reunions or hostage releases.
The important point is not simply that a recording exists, but that the director described its use as contingent on Liat’s choice. The footage was made in exceptional circumstances, with a restriction on cameras and permission for only a limited phone recording. Kramer’s account does not establish a broader filming policy; it explains how he says the team approached this particular moment. That distinction matters in an account of documentary ethics, where the presence of a camera does not by itself settle the question of consent.
When the crew stopped filming
Kramer also said he chose not to film the moment the family learned Aviv had been killed. In another instance, filming of a family conversation paused when Liat said it was too difficult; the crew returned when she asked them to. These examples show how the film’s intimacy depended not only on access, but on decisions about when not to record and when to resume.
Rank #3
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They also make clear that the crew’s presence was not described as automatic or uninterrupted. One painful disclosure was kept off camera; in another conversation, filming stopped and later resumed at Liat’s request. The director’s account presents consent as responsive to changing circumstances, rather than a single yes that covers every later moment. It is best to keep that attribution visible: these are Kramer’s descriptions of the choices made during filming.
What was reported about family approval
The same IDA interview reported that Liat’s children had watched and approved the film, while Netta had not yet seen it at that time. That is a time-specific account from December 2025; it does not establish Netta’s present view or speak for every family member. It also should not be conflated with Liat’s own decision about footage recorded while she was captive: the interview describes separate people and separate points in the process.
How does it compare with a broader war documentary?
The most useful comparison is about scope, not a ranking of which film is more representative. Holding Liat centers on a family and its experience; a broad conflict history would have a different subject and aim. The Berlinale director statement explicitly calls this one family’s story, so it is more accurate to describe the film as a close lens on wider events than as a complete explanation of them.
A second point of comparison is access and consent. The Kramers’ longstanding relationship with the Beinins made close filming possible, while also giving the filmmakers responsibilities that come with filming friends during a crisis. The reunion recording, the decision not to film the family learning of Aviv’s death, and the pause in a difficult conversation illustrate the specific boundaries Kramer says shaped the work. Those details help readers understand the documentary’s approach without claiming that closeness makes a film neutral or that this account can stand for other families.
Runtime, credits, premiere, and recognition
Viennale lists the 2025 United States documentary at 97 minutes. Brandon Kramer directed; the listing credits Yoni Brook and Omer Manor for camera, Jeff Gilbert as editor, and Jordan Dykstra for music. The runtime is useful practical context for anyone choosing the film for a screening or deciding whether it suits a classroom or discussion event.
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The Film Collaborative lists the film’s world premiere in the 2025 Berlinale Forum, a Tribeca selection, and the Berlinale Documentary Film Award. It also records a place on the 2026 Academy Award shortlist for Best Documentary Feature. A shortlist is not a final Oscar nomination or a win. These are milestones in the film’s festival and awards history, not evidence about audience size or a measure of the film’s representativeness.
Screenings and educational use
The Film Collaborative lists exhibition formats including DCP and digital download, as well as a discussion guide. Collective Eye Films lists an educational DVD for universities and colleges and a digital site license. Its indexed institutional product listing showed a price of $375; that is a listed educational price, not a general consumer DVD price, and it may change. These options are relevant to educators and community screening organizers. A discussion guide can support a conversation after a screening, while the educational license and DVD listing are specifically described for institutional use.
The listings do not establish consumer availability through any particular retail storefront or current availability in every territory. A listing for an educational DVD or digital site license should not be mistaken for a confirmed consumer offer. Nor do the sources establish affiliate or referral terms. Anyone planning a public, campus, or community screening should check the current rights, format, territory, and price with the relevant distributor rather than assume that a listed institutional product covers every use.
Digital storefront availability can change by date and location. A Rotten Tomatoes listing reports an Apple TV rental or purchase option, but that information is volatile and territory-dependent, so it should be checked locally before relying on it. No current official US retail listing was published for consumer Amazon availability. In particular, the clearest documented phrase, “Holding Liat DVD,” refers to Collective Eye Films’ University & College DVD listing; it is not evidence of a consumer Amazon listing or a confirmed affiliate-eligible product.
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Frequently Asked Questions
What is Holding Liat about?
It follows the Beinin family after Liat Beinin Atzili and her husband, Aviv, were taken hostage during the October 7, 2023 attack on their kibbutz. The documentary traces the family’s uncertainty, advocacy, disagreements, and experience after Liat’s return. Liat was released after 54 days; the family then learned Aviv had been killed on October 7.
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What perspective does Holding Liat take?
It tells one family’s story, following members of the Beinin family rather than offering a comprehensive history of the Israel-Gaza war or a stand-in for every Israeli, Palestinian, or hostage family. The Berlinale director statement explicitly frames it as one family’s story.
How was Holding Liat filmed, and did Liat consent while captive?
According to director Brandon Kramer’s December 2025 IDA interview, Liat could not consent while held captive. He said the reunion was recorded only in a limited cell-phone recording after the IDF said cameras were not allowed, and that Liat would decide whether that footage was used or erased. He also said filming stopped during a difficult conversation when Liat asked, and resumed when she requested the crew return.
How long is the documentary, and what awards did it receive?
Viennale lists the film at 97 minutes. The Film Collaborative lists its 2025 world premiere at the Berlinale Forum, a Tribeca selection, the Berlinale Documentary Film Award, and a place on the 2026 Academy Award shortlist for Best Documentary Feature. A shortlist is not a final nomination or a win.
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Where can I watch or buy Holding Liat?
The Film Collaborative lists DCP and digital download exhibition formats and a discussion guide. Collective Eye Films lists an educational DVD for universities and colleges and a digital site license, with an indexed institutional price of $375. These sources do not confirm a consumer DVD or Amazon listing. Digital rental or purchase availability can vary by territory and change, so check the local storefront and current distributor listings.
Is Holding Liat suitable for a classroom or community screening?
The Film Collaborative lists a discussion guide, and Collective Eye Films lists institutional educational formats. Those resources may be relevant to educators and screening organizers, but organizers should confirm current licensing, permitted use, format, and price with the distributor.
The Bottom Line
Holding Liat is best understood as an intimate account of one family’s experience, not a complete history of the war. Its focus includes advocacy, family disagreement, grief, and the documentary choices Kramer says were made around consent and painful moments. It runs 97 minutes; educational screening materials and licensing are listed, but consumer availability should be checked rather than assumed.
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Product prices and availability are accurate as of the date/time indicated and are subject to change. Any price and availability information displayed on Amazon at the time of purchase will apply.
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