加沙纪录片《NAZA》在以遭官方施压与舆论抵制Gaza Documentary 'NAZA' Faces Official Pushback and Boycott in Israel

纪录片《NAZA》由尤瓦尔·亚伯拉罕与雷切尔·索尔执导，片名取自希伯来语中“附带损害”的首字母缩写。该片在威尼斯电影节进行展映时获得国际评审团关注，斩获特别评审团奖，并在现场获得长达25分钟的起立鼓掌。影片记录了加沙地带军事行动中的相关杀戮方式与平民伤亡情况，两位创作者在成片后公开表达了希望在以色列国内实现广泛公开放映的明确意向。

The documentary 'NAZA', directed by Yuval Avraham and Rachel Szor, derives its title from the Hebrew acronym for 'collateral damage'. During its international presentation at the Venice Film Festival, the project garnered significant attention, receiving a special jury prize alongside a 25-minute standing ovation from attendees. The film documents methods of killing and civilian tolls linked to military operations in Gaza, and both directors explicitly announced their intention to secure broad public screenings inside Israel upon completing the work.

尽管主创团队表达了放映诉求，但《NAZA》目前仍未在以色列国内达成任何发行合作，也未获得任何公开放映安排。以色列本土发行渠道与放映场所对该片保持回避态度，使影片在国内传播处于完全停滞状态。这一遭遇与威尼斯电影节现场的强烈反响形成鲜明对比，也构成了该片在以色列国内面临后续官方表态与舆论抵制的前提。

Despite the directors' public goals, 'NAZA' has not secured an Israeli distributor or any scheduled public screenings within the country. Domestic distribution networks and screening venues have withheld engagement, leaving the documentary's local circulation entirely stalled. This domestic impasse stands in stark contrast to the reception observed at Venice, establishing the operational backdrop for subsequent official warnings and broad boycott sentiments across the country.

在纪录片《NAZA》引发争议后，以色列多位高层官员针对两位导演表达了强硬立场。以色列国防军总参谋长与文化部长等官员公开宣布，准备对尤瓦尔·亚伯拉罕和雷切尔·索尔“采取措施”。尽管外界指出除了剥夺以色列国籍这一极罕见手段外，官方可行的具体行动尚不明朗，但高层的表态使创作者面临直接的制度性压力。

Following the controversy surrounding 'NAZA', senior Israeli officials adopted a hardline posture toward the two filmmakers. Prominent figures, including the Israeli military chief of staff and the minister of culture, announced that they planned to 'take steps' against directors Yuval Avraham and Rachel Szor. While the precise nature of these potential measures remains unclear beyond the extremely rare possibility of revoking Israeli citizenship, the statements introduced direct institutional pressure against the creators.

与官方威胁相伴随的是以色列舆论界与公众中广泛出现的拒看现象。许多针对亚伯拉罕和索尔的谴责直接建立在明确声明绝不观看该片的基础之上。批评者将不看片视为一种立场表达，指责该片在国际场合展示以色列的负面形象，并认为影片内容属于偏见宣传，从而在未阅览具体画面的情况下直接对影片内容予以全盘否定。

Alongside warnings from officials, a widespread refusal to watch the documentary emerged across Israeli public and political discourse. Much of the outrage directed at Avraham and Szor was voiced by individuals who openly stated they had no intention of viewing the film. Critics framed this deliberate refusal as a principled stance, arguing that presenting critical depictions on the international stage harms Israel and constitutes biased propaganda, thereby rejecting the documentary outright without engaging with its actual footage.

在以色列新闻界内部，纪录片《NAZA》同样遭遇了针对其专业水准与政治立场的广泛批评。以色列知名调查记者拉维夫·德鲁克在采访尤瓦尔·亚伯拉罕时表示，以色列媒体未能揭露片中记录的军事行动细节，是因为相关报道工作存在诸多困难。德鲁克同时指出，由于该片依赖匿名证词，缺乏新闻专业标准，如果由他决定，他不会选择播出这部纪录片。

Within the Israeli press corps, 'NAZA' encountered direct scrutiny targeting both its journalistic standards and its perceived political impact. Raviv Drucker, a prominent Israeli investigative journalist, stated in an interview with co-director Yuval Avraham that domestic media faced numerous practical difficulties in uncovering the military killing methods documented in the project. Drucker added that he would not have aired the film himself, arguing that its reliance on anonymous testimonies fell short of professional journalistic rigor.

包括被视为以色列左翼阵营在内的其他媒体人士也迅速跟进了类似的质疑声音。专栏记者乌里·米斯加夫等人认为，尽管媒体监督具有价值，但该片忽视新闻标准表明创作者预设了以色列应对局势承担全责的结论，其客观效果实际上契合了以色列敌对势力的目标。部分舆论甚至指责创作者谋求关注与金钱，或将其称作无意中服务于他方利益的工具。

Other media figures, including those associated with the Israeli political left, echoed similar critiques against the documentary. Commentators such as Uri Misgav argued that while legitimate criticism remains necessary, the disregard for established reporting standards indicated that the filmmakers had predetermined their conclusion that Israel was solely at fault. Critics contended that the work effectively served the interests of Israel's adversaries, with some commentators characterizing the directors as pursuing financial gain and attention or functioning as unwitting instruments for outside political agendas.

针对纪录片《NAZA》的抵制态度植根于加沙战事爆发以来以色列社会形成的心理防御机制。战事初期面对加沙的破坏画面，许多以色列人公开表示在周边城镇遭受巨大人员伤亡后已“封闭内心”，拒绝同情加沙民众。当时左翼活动人士曾认为向公众展示加沙战况能促发反战呼声，但这一设想遭到了社会的明确排斥，公众逐步形成了回避战事画面的常态化心理。

The domestic resistance to the documentary 'NAZA' is rooted in a broader psychological defense mechanism that developed across Israeli society during the Gaza conflict. Following the significant death toll suffered in towns and villages surrounding Gaza, many Israelis stated that they had closed their hearts and felt no pity regarding images of devastation emerging from Gaza. While left-wing activists initially expected that exposing the public to the destruction in Gaza would trigger anti-war mobilization in the streets, that premise was soundly rebuffed as the broader public moved toward actively avoiding such imagery.

面对国际社会的关注，许多以色列批评者将拒看《NAZA》视为原则立场，并诉诸“家丑不可外扬”的论调，认为不应在国际场合展示加沙数以万计的人员伤亡。舆论普遍将威尼斯电影节的赞誉和外部谴责视作既有的国际偏见，认为无论以色列采取何种行动都会被指责，进而将国际奖项解读为针对以色列的舆论攻势，从而彻底拒绝就影片反映的战事议题展开讨论。

Confronted with international scrutiny, many Israeli critics framed their refusal to watch 'NAZA' as a point of pride, invoking the argument that domestic matters should not be aired to outside audiences to demonstrate responsibility for tens of thousands of casualties in Gaza. Public sentiment largely dismissed the acclaim at Venice and foreign condemnations as evidence of entrenched global bias or anti-Semitism, reasoning that Israel would face blame regardless of its actions and concluding that engaging with the documentary would merely validate external campaigns against the country.