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1Fix the driver behind crashes, sound loss and screen glitches2Clear out junk files and repair common Windows errors3Scan for outdated or missing drivers - takes under a minuteNAZA is an 80-minute documentary directed by Israeli filmmakers Yuval Abraham and Rachel Szor. It examines, through anonymized testimony from 24 Israeli military insiders and related investigative journalism, how systems behind Israeli airstrikes and civilian deaths in Gaza are described by people who say they worked within them. The film presents testimony and its makers’ interpretation; it is not itself a court ruling or an independently adjudicated finding.
What is NAZA?
NAZA is a documentary about the systems, decisions and language associated with Israel’s war in Gaza, as described by the film’s interviewees and by reporting on which the project is based. Abraham and Szor made the film in Israel and frame it as an examination of their country’s responsibility for Palestinian civilian deaths.
The documentary runs for 80 minutes. Its title refers to a military acronym that The Guardian describes as a euphemistic way of expressing the number of civilians expected to die in an airstrike. The Associated Press describes the term more generally as shorthand for civilian casualties. Because the meaning is presented through reporting and the filmmakers’ framing, viewers should treat that explanation as attributed context rather than as a judicial definition of military policy.
In their directors’ statement published by the Venice Biennale, Abraham and Szor write: “We made this film out of a sense of obligation to use our position as Israelis to examine the systems behind the mass killing of Palestinian civilians for which our country is responsible.” That sentence states the film’s perspective and purpose. It should not be confused with an official finding about the legality or facts of any individual strike.
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Who made the film, and what point of view does it take?
Abraham and Szor are Israeli filmmakers. Their nationality is central to the film’s stated approach: they use their position inside Israeli society to investigate military institutions and the consequences of their actions in Gaza. The film is therefore both a documentary investigation and an explicitly situated argument about responsibility.
That perspective does not make every claim in the film either proved or disproved. It tells you how to read the work: as a construction built from interviews, prior reporting, visual choices and the directors’ interpretation. The Venice Biennale’s description and the directors’ own statement make that framing clear, while the Associated Press and the Onassis Foundation describe the underlying interview project.
What does NAZA document?
Testimony from 24 military insiders
The Associated Press reports that the film includes 24 Israeli military insiders, including intelligence officers and soldiers. The Onassis Foundation likewise describes testimony from 24 officers and soldiers. Their identities are obscured through digital changes to their voices and appearances.
Anonymity serves two purposes at once. It can protect people who fear professional, legal or personal consequences for speaking, and it lets the filmmakers include testimony that might otherwise be unavailable. It also limits what a viewer can independently check about each speaker’s role, dates of service and direct knowledge. The film asks you to weigh what each person says alongside the surrounding reporting and explanations rather than treating anonymity as automatic proof.
Investigative reporting as a foundation
NAZA builds on investigative work published by The Guardian, +972 Magazine and Local Call. The directors have said that earlier journalism covered many of the revelations associated with the project. Their reason for making a film was not simply to repeat those articles, but to explore what visual storytelling can add: pauses, silence, the physical setting of a conversation and the emotional effect of hearing insiders describe systems in their own words.
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This distinction matters when evaluating the documentary. A reported article, an interview recorded for a film and a conclusion reached by a court are different kinds of evidence. NAZA brings them together, but it does not turn every allegation into an independently verified legal finding.
The title’s language and civilian harm
The title focuses attention on language used around airstrikes. In the accounts cited by The Guardian and the Associated Press, NAZA is associated with a shorthand or euphemism for anticipated civilian casualties. The film uses that term to ask how bureaucratic language can make the human consequences of an attack seem abstract or numerical.
That is an interpretive question as well as a factual one. The documentary’s argument is that terminology, targeting systems and institutional procedures can distance decision-makers from people living under bombardment. Viewers should keep the film’s argument separate from any later determination by investigators, courts or official inquiries about a particular operation.
How is NAZA filmed?
The film’s visual design is deliberately restrained. The Venice Biennale describes nighttime filming on Tel Aviv rooftops, while the Onassis Foundation and the directors emphasize anonymous conversations, hand-drawn explanations and long stretches of silence. Instead of presenting a conventional sequence of daytime interviews, the film places spoken testimony in a nocturnal urban setting.
Rooftops give the interviews a physical relationship to the city in which the filmmakers live. The film contrasts views of Tel Aviv with images and references to Gaza, creating a visual distance between an Israeli metropolitan environment and the war being discussed. That contrast is part of the directors’ method, not neutral background footage.
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Digital alteration of voices and faces protects the 24 interviewees but also makes the film less like a standard sit-down interview. The viewer cannot rely on a recognizable face, uniform or public biography to establish authority. Instead, credibility has to be assessed through the specificity of each account, how it fits with the reporting cited by the film and whether the documentary distinguishes direct knowledge from hearsay.
Hand-drawn explanations serve a similar purpose. They can make chains of decisions or technical ideas easier to follow without exposing documents or identities. At the same time, every drawing is selected and arranged by the filmmakers. It is a communication device, not an original military record.
How should you assess the film’s claims?
Separate the layers of evidence
When watching, identify which layer you are hearing:
- First-person testimony: an interviewee describes what they saw, did or were told while serving in the military.
- Published journalism: reporting by The Guardian, +972 Magazine and Local Call supplies prior investigations and context.
- Filmmakers’ interpretation: Abraham and Szor connect testimony, images and silence into an argument about institutional responsibility.
- Independent adjudication: a court, commission or other formal investigation would be a separate source and is not created simply by the film’s release.
This approach avoids two opposite mistakes: dismissing testimony merely because speakers are anonymous, or treating a compellingly edited sequence as conclusive proof of every allegation it raises.
Notice what anonymity changes
The film’s security choice means that viewers receive fewer identifying details than they would in an ordinary documentary. You may not be able to confirm a speaker’s unit, rank or exact timeline from the screen. The benefit is that people can discuss sensitive conduct without being publicly identified; the cost is reduced transparency. That trade-off is intrinsic to the project and should be part of any serious assessment of it.
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Keep the scope of conclusions precise
NAZA is about systems and patterns as presented by its makers and sources. It is not a ruling on every Israeli military action in Gaza, nor does a scene automatically establish the facts of a particular strike. If you use the film in research, teaching or reporting, cite the specific testimony or journalistic investigation and preserve its attribution instead of writing that “the documentary proved” a broad proposition.
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Where and when can you watch NAZA?
Availability depends on your country and the date you check. The Guardian announced a theatrical rollout in 56 territories, followed after the cinema run by free streaming on the Guardian website in late November 2026. Those are announced plans, not a guarantee that every territory will open on the same day or that a screening is currently available.
| Viewing route | What has been announced | What to verify locally |
|---|---|---|
| Theatrical screening | A planned rollout across 56 territories, according to The Guardian. | Whether your country is included, the cinema, screening dates, subtitles and ticket requirements. |
| Online viewing | Free streaming on The Guardian’s website after the cinema run, announced for late November 2026. | Whether the stream has begun, whether it is accessible in your territory and any current regional restrictions. |
For a screening, check current listings from cinemas or local distributors rather than relying on an old festival announcement. For online viewing, use the Guardian’s current release information and confirm that the page is available where you live. The announcement does not establish that the film is already free to watch everywhere.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.What reception has NAZA received?
The Guardian reports that NAZA received the Venice Special Jury Prize and was met with a 25-minute standing ovation at the Venice Film Festival. The Onassis Foundation also lists an Audience Award for Best European Film at San Sebastián, in addition to the Venice prize.
Those awards and the reported ovation document festival reception. They do not amount to a universal critical consensus and do not verify the film’s substantive allegations. A festival jury evaluates a work as a film; it is not conducting a criminal investigation into the events described on screen.
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What is not established about NAZA’s release?
The available release announcements do not list a DVD, Blu-ray, companion book or other physical edition. If you are looking for a permanent copy, do not assume that a cinema release or a free online window includes a retail version. Any later edition would need to be confirmed by the filmmakers, distributor or the Guardian.
There is also no basis to infer a single worldwide release date from the 56-territory announcement. A country may have a different cinema schedule, subtitles, age classification or online access rules. Treat the late-November 2026 streaming plan as a timetable for the announced post-theatrical window, subject to local availability.
Why the film matters to viewers
NAZA gives viewers a way to encounter testimony that is difficult to obtain through public hearings or ordinary news conferences. Its 24 anonymous participants describe themselves as people who were close to military intelligence or operations, while the film’s visual language asks what happens when institutional violence is discussed in quiet rooms far from the scenes of destruction.
Its value is therefore not limited to any single revelation. The documentary connects personal accounts to reporting, then asks viewers to consider how procedures, technical terms and chains of authority can shape decisions about civilian risk. Watching it alongside the underlying journalism can help you distinguish a speaker’s direct experience from the directors’ broader interpretation.
Approach NAZA as a reported documentary with a clearly stated moral and political viewpoint. It can inform, challenge and prompt further investigation, while the responsibility for deciding what has been legally or independently established remains with courts, commissions and corroborated reporting.
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