Thank you, Mr. Weiner. . I wish I could say that I'm surprised to learn that Crescendo was directed by a preeminent Israeli filmmaker and that it curried acclaim at Jewish Film Festivals worldwide, but alas, the perpetuation of antiSemitic tropes is by no means off limits, today, to many Israelis and Jews who very misguidedly find these to be funny or otherwise harmless. Combatting murderous antiSemitism around the world, today, requires that we take the trouble actually to learn to recognize and call out the tropes that promote hate and trigger violence, and when artists and other professionals fail to accept education along these lines, the result is inevitably the lending of aid and comfort to those would prefer that Israel and Jews worldwide simply cease to exist. With due respect, you are grievously mischaracterizing my criticism as some kind of intolerance for anything in cinema that dares to be critical of Israelis' relationships with Palestinians. Your mischaracterization sets up a straw target that obscures the real issue, here, and precludes meaningful debate. I took pains to explain that while I find nothing wrong with (and usually greatly admire) films that honestly examine the nature of Israeli-Palestinian coexistence, I cannot react with equanimity to a film, like Crescendo, that offers up hate-filled caricatures of Israeli Jews as people preoccupied with exerting sadistically cruel and imperious dominion over Palestinians. Do you not see the difference, for example, between the Israeli characters developed in Fauda, all of whom are deeply (and wonderfully) flawed, and the Israeli characters offered up in Crescendo? Fauda is a masterpiece for its balanced, but also harshly honest, depictions of Jews and Palestinians. It makes no effort to lionize Jews, and also no effort to demonize Palestinians. It achieves all that it needs to without resorting to a single campy trope or stereotype on either side. Crescendo is the opposite: It is fodder for Jew-hatred that Jewish Film Festivals should be ashamed to award with prizes, and I was hoping that unlike the juries at such Festivals, ChaiFlicks's curators might be able to see this. Instead, I'm now sensing that ChaiFlicks thinks that classical antiSemitism is just one of many valid lenses through which to present a story about Israelis and Palestinians, and that Jews have no right to call out antiSemitism when we see it on the screen. That is a political-correctness bridge too far for this progressive Zionist, and, I would venture, for many others in the subscribing audience, here.